Academic literature on the topic 'Author and authorship'
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Journal articles on the topic "Author and authorship"
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Bhagat, Vijay. "Women Authorship of Scholarly Publications on COVID-19: Leadership Analysis." Feminist Research 4, no. 1 (2020): 7–17. http://dx.doi.org/10.21523/gcj2.20010102.
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Women are continuously underrepresented in authorship of scholarly publications. 1) The authorship positions as first -, last and corresponding author, and 2) performance as citations and Altmetric records of published papers are indicators of leadership qualities of the authors. Comparative leadership qualities of women authors were calculated using odds ratios. The proportion analysis was performed to get comparative contributions and per article citations and Altmetric records to understand the quality of publications. Information about scholarly publications was downloaded from Dimensions and data about names and gender was collected from different online sources. Author’s gender was detected based on first name. The proportions of women authorship as first, last and corresponding author were calculated to understand the share of women in scholarly publications. Women show underrepresentation in authorship of scholarly publications on COVID-19. Female-to-male odds ratio was calculated for these authorships and the performance was calculated of research papers authored by women as first and last authors. Female-to-male odds ratios calculated for 1) women authorships as first author, 2) citations, and 3) Altmetric tracking records for articles authored by women as first author were more than 1. Further, 1) women authorship as last- and corresponding authors and 2) citations and Altmetric tracking records for articles authored women as last author show calculated value were less than 1. All these ratios were considered as indicators of women leadership in scholarly publications on COVID-19. Leadership index was calculated to understand the level of women leadership in this field. Calculated leadership index for women (7.11) shows leadership qualities of women authors. Financial support provided was almost equal for research reported in women and men first authored papers. The field is very new; it is as active and challenging area of research for social justice and welfare society. The method and results reported in the paper is useful for preparation of research policies and monitoring the research projects, grants with feminist approach.
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Lapeña, José Florencio F. "Authorship Controversies: Gift, Guest and Ghost Authorship." Philippine Journal of Otolaryngology-Head and Neck Surgery 34, no. 1 (2019): 4–5. http://dx.doi.org/10.32412/pjohns.v34i1.957.
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Authorship, “the state or fact of being the writer of a book, article, or document, or the creator of a work of art,”1 derives from the word author, auctor, autour, autor “father, creator, one who brings about, one who makes or creates,” from Old French auctor, acteor “author, originator, creator, instigator,” directly from the Latin auctor “promoter, doer; responsible person, teacher,” literally “one who causes to grow.”2 It implies a creative privilege and responsibility that cannot be taken lightly. In the biomedical arena, the International Committee of Medical Journal Editors (ICMJE) “recommends that authorship be based on the following four criteria: 1. Substantial contributions to the conception or design of the work; or the acquisition, analysis, or interpretation of data for the work; AND 2. Drafting the work or revising it critically for important intellectual content; AND 3. Final approval of the version to be published; AND 4. Agreement to be accountable for all aspects of the work in ensuring that questions related to the accuracy and integrity of any part of the work are appropriately investigated and resolved.”3
 
 Thus, all persons designated as authors should qualify for authorship, and all those who qualify as authors should be so listed.3 The first of these general principles means that all persons listed as authors should meet the four ICMJE criteria for authorship; the second principle means that all those who meet the four ICMJE criteria for authorship should be listed as authors.3 The first part of the statement disqualifies honorific “gift” authors, complementary “guest” authors, and anonymous “ghost” authors from being listed as authors. The second part ensures the listing of all those who qualify as authors, even if they are no longer part of the institution or group from which the work emanates (such as students who have graduated or residents and fellows who have completed their postgraduate training).
 
 Honorific or “gift” authorship takes place when a subordinate (or junior) person lists a superior (or senior) person as an author, even if that person did not meet the four ICMJE authorship criteria.4,5 Bestowing the gift on a Chief, Chair, Department Head, Director, Dean, or such other person is often done in gratitude, but carries an unspoken expectation that the favor will be returned in the future. It can also be bestowed under coercive conditions (that may overlap with those of guest authorship discussed next).4.5 It is unethical because the gifted person does not qualify for authorship when at most only acknowledgement is his or her due. In the extreme, such a person can be put in the uncomfortable and embarrassing situation of being unable to comment on the supposedly co-authored work when asked to do so. Moreover, the unqualified co-author(s) may actually attempt to wash their hands of any allegations of misconduct, claiming for example that the resident first author “plagiarized the material” or “fabricated or manipulated the data” but “I/we certainly had nothing to do with that” - - hence the fourth criterion for authorship came to be.3 Reviewers and Editors may suspect “gift” authorship when for instance, a resident listed as first author writes the paper in the first person, using the pronoun “I” instead of “we” and thanks the consultant co-author under the “acknowledgements” section. The suspicions are further reinforced when the concerned co-author(s) do not participate in, or contribute to revising the manuscript critically for important intellectual content during the review and editing process.
 
 Guest authorship takes place when influential or well-known individuals “lend” their name to a manuscript to boost its prestige, even though they had nothing to do with its creation.6,7 They may have been invited to do so by one or more of the actual authors, but they willingly agree, considering the arrangement mutually-beneficial. Thus, a student or resident may knowingly invite an adviser or consultant to be listed as co-author, even if the latter did not meet authorship criteria. The former perceives that having a known co-author increases the chances of a favorable review and publication; the latter effectively adds another publication to his or her curriculum vitae. It is not difficult to see how such symbioses may thrive in the “publish or perish” milieu of academe. Research advising alone, even if editing of the research paper was performed, do not qualify one for authorship (Cf. “gift” authorship). This is not to say that a research, thesis or dissertation adviser may not be listed as co-author – as long as he or she meets the 4 ICMJE criteria for authorship.3 A related misconduct is the practice by certain persons with seniority of insisting their names be listed first, even if more junior scholars did all the innovative thinking and research on a project. Indeed, the order of authorship can be a source of unhappiness and dispute. Authors be listed in the order of their contributions to the work – the one who contributed most is listed first, and the order of listing should be a joint decision of all co-authors at the start of the study (reviewed periodically).
 
 Ghost authorship usually pertains to paid professional writers who anonymously produce material that is officially attributed to another author.7,8 They may operate out of establishments that manufacture term papers, theses, and dissertations for the right price (such as the infamous C.M. Recto district in downtown Manila, now replaced by numerous online services). They may also be employed by the pharmaceutical industry to write promotional, favorable studies that will list well-known persons (professors, scientists, senior clinicians) as authors, often with consent and adequate compensation.8 Examples include “a professor at the University of Wisconsin” being paid “$1,500 in return for putting his name” on “an article on the ‘therapeutic effects’ of their diet pill Redux (dexfenfluramine),” that was “pulled from the market” a year later “as doctors began reporting heart-valve injuries in as many as one-third of patients taking the drug” and the drug “later linked to dozens of deaths.”9 Similar cases involved the “deadly drug” rofecoxib (Vioxx) “eventually blamed for some 60,000+ deaths,” that “was also linked to a number of shameful scandals relating to fraudulent studies and the use of ghostwriters to boost sales.”9 The costs involved are not meager; Parke-Davis paid “a medical education communication company (MECC) to write articles in support of the drug” Neurontin (gabapentin) “to the tune of $13,000 to $18,000 per article. In turn, MECC paid $1,000 each to friendly physicians and pharmacists to sign off as authors of the articles.”9 Pfizer (who acquired Neurontin form Parke-Davis) “was found guilty of illegally promoting off-label uses of Neurontin,” and “fined more than $142 million in damages.”9 Whether or not morbidities or mortalities ensue from the practice, both ghosts and beneficiary-authors should be held liable in such situations.
 
 Clearly, the practice of “gift,” “guest,” and “ghost” authorship should not be entertained by authors or tolerated by editors and reviewers. Authorship should be based on the ICMJE authorship criteria. Our editors and reviewers vigilantly strive to uphold and protect the rights and welfare of our authors and the integrity and soundness of their research. We call on all fellows, diplomates and residents in training to do the same.
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North, Michael. "Authorship and Autography." Publications of the Modern Language Association of America 116, no. 5 (2001): 1377–85. http://dx.doi.org/10.1632/s0030812900113392.
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The Single Most Influential Contemporary Statement on Authorship is Still the Obituary that Roland Barthes pronounced over thirty years ago (Burke, Death 19). Partly by the stark extremity of its title, Barthes's essay “The Death of the Author” transformed New Critical distaste for the biographical into an ontological conviction about the status of language (Burke, Death 16) and in so doing made the dead author far more influential than living authors had been for some time. If authorship is now a subject of contention in the academy rather than a vulgar embarrassment, it is largely because of the way that Barthes inflated the issue in the very act of dismissing it. Though the idea that “it is language which speaks, not the author,” seems to demote the human subject (“Death” 143), it may also promote the written word, and it has been objected from the beginning, by Michel Foucault first of all, that the notion of écriture “has merely transposed the empirical characteristics of an author to a transcendental anonymity” (Foucault 120). Many later critics have agreed, and thus there have been a series of arguments, from the theoretical (Burke, Death) to the empirical (Stillinger), to the effect that the whole post-Saussurean turn exemplified by Barthes has not so much killed off the concept of the author as raised it to a higher plane of abstraction. But it may be that, approached from another angle, Barthes's essay will turn out to have its own relation to certain social and technological developments, and that these, in their turn, will help to situate the death of the author as a historical phenomenon.
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North, Michael. "Authorship and Autography." PMLA/Publications of the Modern Language Association of America 116, no. 5 (2001): 1377–85. http://dx.doi.org/10.1632/pmla.2001.116.5.1377.
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The Single Most Influential Contemporary Statement on Authorship is Still the Obituary that Roland Barthes pronounced over thirty years ago (Burke, Death 19). Partly by the stark extremity of its title, Barthes's essay “The Death of the Author” transformed New Critical distaste for the biographical into an ontological conviction about the status of language (Burke, Death 16) and in so doing made the dead author far more influential than living authors had been for some time. If authorship is now a subject of contention in the academy rather than a vulgar embarrassment, it is largely because of the way that Barthes inflated the issue in the very act of dismissing it. Though the idea that “it is language which speaks, not the author,” seems to demote the human subject (“Death” 143), it may also promote the written word, and it has been objected from the beginning, by Michel Foucault first of all, that the notion of écriture “has merely transposed the empirical characteristics of an author to a transcendental anonymity” (Foucault 120). Many later critics have agreed, and thus there have been a series of arguments, from the theoretical (Burke, Death) to the empirical (Stillinger), to the effect that the whole post-Saussurean turn exemplified by Barthes has not so much killed off the concept of the author as raised it to a higher plane of abstraction. But it may be that, approached from another angle, Barthes's essay will turn out to have its own relation to certain social and technological developments, and that these, in their turn, will help to situate the death of the author as a historical phenomenon.
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Shah, Syed Ghulam Sarwar, Rinita Dam, Maria Julia Milano, et al. "Gender parity in scientific authorship in a National Institute for Health Research Biomedical Research Centre: a bibliometric analysis." BMJ Open 11, no. 3 (2021): e037935. http://dx.doi.org/10.1136/bmjopen-2020-037935.
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ObjectiveScientific authorship is a vital marker of achievement in academic careers and gender equity is a key performance metric in research. However, there is little understanding of gender equity in publications in biomedical research centres funded by the National Institute for Health Research (NIHR). This study assesses the gender parity in scientific authorship of biomedical research.DesignDescriptive, cross-sectional, retrospective bibliometric study.SettingNIHR Oxford Biomedical Research Centre (BRC).DataData comprised 2409 publications that were either accepted or published between April 2012 and March 2017. The publications were classified as basic science studies, clinical studies (both trial and non-trial studies) and other studies (comments, editorials, systematic reviews, reviews, opinions, book chapters, meeting reports, guidelines and protocols).Main outcome measuresGender of authors, defined as a binary variable comprising either male or female categories, in six authorship categories: first author, joint first authors, first corresponding author, joint corresponding authors, last author and joint last authors.ResultsPublications comprised 39% clinical research (n=939), 27% basic research (n=643) and 34% other types of research (n=827). The proportion of female authors as first author (41%), first corresponding authors (34%) and last author (23%) was statistically significantly lower than male authors in these authorship categories (p<0.001). Of total joint first authors (n=458), joint corresponding authors (n=169) and joint last authors (n=229), female only authors comprised statistically significant (p<0.001) smaller proportions, that is, 15% (n=69), 29% (n=49) and 10% (n=23) respectively, compared with male only authors in these joint authorship categories. There was a statistically significant association between gender of the last author with gender of the first author (p<0.001), first corresponding author (p<0.001) and joint last author (p<0.001). The mean journal impact factor (JIF) was statistically significantly higher when the first corresponding author was male compared with female (Mean JIF: 10.00 vs 8.77, p=0.020); however, the JIF was not statistically different when there were male and female authors as first authors and last authors.ConclusionsAlthough the proportion of female authors is significantly lower than the proportion of male authors in all six categories of authorship analysed, the proportions of male and female last authors are comparable to their respective proportions as principal investigators in the BRC. These findings suggest positive trends and the NIHR Oxford BRC doing very well in gender parity in the senior (last) authorship category. Male corresponding authors are more likely to publish articles in prestigious journals with high impact factor while both male and female authors at first and last authorship positions publish articles in equally prestigious journals.
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KNAPP, JEFFREY. "What Is a Co-Author?" Representations 89, no. 1 (2005): 1–29. http://dx.doi.org/10.1525/rep.2005.89.1.1.
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ABSTRACT In this essay, Jeffrey Knapp questions the recent critical orthodoxy that treats authorship as a menacing latecomer to the popular and collaborative Elizabethan stage. Demonstrating that a literary paradigm of single authorship dominated Elizabethan thinking about playwriting, Knapp presents Hamlet as Shakespeare's attempt to develop a more theatrically inflected model of authorship through the dramatization of his own hybrid professional identity as an actor and a playwright.
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Vandana, KL. "Author and authorship: A dilemma." Journal of the International Clinical Dental Research Organization 7, no. 2 (2015): 89. http://dx.doi.org/10.4103/2231-0754.164345.
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Marcelin, Rose A., Kristina M. Rabarison, and Monika K. Rabarison. "Co-Authorship Network Analysis of Prevention Research Centers: An Exploratory Study." Public Health Reports 134, no. 3 (2019): 249–54. http://dx.doi.org/10.1177/0033354919834589.
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Objective: The Centers for Disease Control and Prevention’s Prevention Research Centers (PRCs) collaborate on public health activities with community agencies and organizations. We evaluated these collaborations by studying the relationships between co-authors from the PRCs and community agencies that published at least 1 article together in the first year of the program. Methods: We identified all the authors of articles published by PRCs and collaborating members in peer-reviewed journals between September 2014 and September 2015 and constructed a network showing the links between and among all the authors. We characterized the network with 4 measures of social structure (network components, network density, average clustering coefficient, average distance) and 3 measures of individual author performances (degree-, betweenness-, and closeness-centrality). Results: The 413 articles had 1804 individual authors and 7995 co-authorship relationships (links) in 212 peer-reviewed journals. These authors and co-authors formed 44 separate, nonoverlapping groups (components). The largest “giant” component containing most of the links involved 66.3% (n = 1196) of the authors and 73.7% (n = 5889) of the links. We identified 136 “information brokers” (authors with high closeness centrality: those who have the shortest links to the most authors). Two authors with high betweenness centrality (who had the highest number of co-authors; 104 and 107) had the greatest ability to mediate co-authorships. Network density was low; only 0.5% of all potential co-authorships were realized (7995 actual co-authorship/1 628 110 potential co-authorships). Conclusion: Information brokers and co-authorship mediators should be encouraged to communicate more with each other to increase the number of collaborations between network members and, hence, the number of co-authorships.
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Ramos-Rodriguez, Antonio-Rafael, María Paula Lechuga Sancho, and Salustiano Martínez-Fierro. "Authorship trends and collaboration patterns in hospitality and tourism research." International Journal of Contemporary Hospitality Management 33, no. 4 (2021): 1344–67. http://dx.doi.org/10.1108/ijchm-09-2020-0981.
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Purpose Analyze patterns of co-authorship in hospitality and tourism (H&T) research using bibliometric methods. The purpose of this paper is to answer three questions related to collaborative practices, the number of authors, the order of signatures and the role of the corresponding author. Design/methodology/approach The methodology is based on the bibliometric techniques of authorship analyzes published in leading H&T journals. Evaluative techniques provide longitudinal evidence of the evolution of some indicators of authors’ collaboration: the percentage of alphabetized authorships; the percentage of articles were the most relevant author signs in the first, middle or last position; and the position of the corresponding author in the by-line. Findings First, the collaborative nature of H&T research is confirmed; almost 80% of articles in the sample are co-authored. Second, over the past 30 years, the alphabetized signature model has been in decline in this field. Today, about 20% of articles indexed in JCR journals are signed alphabetically. Third, the first author’s placement is less consistent than that of the corresponding author. Practical implications This work provides relevant information on researchers’ authorship habits that may help evaluators assign credit and accountability and avoid malpractice in the authorial assignment. Originality/value This study explores the habits of researchers who collaborate to improve their productivity, impact and reputation. This is often linked to facilitating access to research funding and obtaining recognition from incentive systems. Yet, no research specifically examines trends in signature order or the corresponding author’s role in the H&T field.
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Annesley, Thomas M. "Gender Authorship in the Field of Clinical Chemistry." Journal of Applied Laboratory Medicine 5, no. 5 (2020): 869–76. http://dx.doi.org/10.1093/jalm/jfaa096.
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Abstract Background Gender underrepresentation has long existed in the science, technology, engineering, and mathematics fields. While there are upward trends in many areas of the life and health sciences, some disciplines are underrepresented in female author numbers, including first and corresponding authors. This study evaluated the participation by women as authors in the field of clinical chemistry. Methods Clinical Chemistry and The Journal of Applied Laboratory Medicine were selected for data collection. Data were classified into four categories: total number of authors for each article, number of female authors for each article, whether the first author was female, and whether the corresponding author was female. From these data, the percentages of female authors, articles with female first authors, articles with female corresponding authors, and articles where a female was either first or corresponding author were calculated. Results Both journals had ≥40% total female authorship, ≥45% female first author, and 64% female first or corresponding author. The 40% female author number matched the percentage of female doctoral degree, board certified clinical chemists, and the 39% female PhDs and MDs in academic clinical pathology departments. Compared with a selected group of science or medicine journals and gender reports, Clinical Chemistry and The Journal of Applied Laboratory Medicine exceeded most journals and gender reports in female total authorship, first author, and corresponding author. Conclusions Women are well represented as authors in these two clinical chemistry journals. Both journals compare favorably against other scientific/medical journals. Female authorship in these two journals also parallels gender composition of the field of clinical chemistry.
Dissertations / Theses on the topic "Author and authorship"
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Grgorinic, Natalija. "Recounting the Author." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1333512288.
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Price, Amanda C. "Author(ity) figures : anxieties of authorship, freedom, and control." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/241.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>English
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Greene, Justin R. "I Am an Author: Performing Authorship in Literary Culture." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5346.
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Authorship is not merely an act of putting pen to paper or fingers to keyboard; it is a social identity performance that includes the use of multiple media. Authors must be hyper- visible to cut through the dearth of information, entertainment options, and personae vying for attention in our supersaturated media environment. As they enter the literary world, writers consciously create characters and narratives around themselves, and through the consistent and believable enactment of these features, authors are born. In this dissertation, I analyze the performance of authorship in U.S. literary culture through an interdisciplinary framework. My work pulls from authorship studies, performance studies, celebrity/persona studies, and sociological studies of art to uncover how writers create and disseminate their authorial identities. The writers used in this project embody four types of authorial identity: Jonathan Franzen as the professional artist, David Foster Wallace as the Romantic genius, Tao Lin as the digital eccentric, and Roxane Gay as the Intersectional Feminist. These writers flirt with popular recognition, but they remain tied firmly to the serious, or in a Bourdieuvian sense, restricted area of cultural production. As my case studies progress, I highlight how print, audio/visual, and digital media are used or not used by these writers as sites for their performances. I claim that as writers develop their characters on such digital platforms as Twitter and Tumblr that they are more accepting of the validity of digital authorship. However, this acceptance is diminished by the dominant role print media have in the conceptions of authorship. The varying ways literary tradition, media, and celebrity intersect are brought to the forefront in these examples, shedding light on the need for larger conceptions of authorship in the literary world. My interpretation of authorship as social identity performance broadens a relatively restrictive and, in many ways, stagnant area, adding nuance to how literary culture actively works to maintain and dilute the value of one of its most prominent features.
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Wardak, Thomas. "Author functions, auteur fictions : understanding authorship in conglomerate Hollywood commerce, culture, and narrative." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/18293/.
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In 1990, Timothy Corrigan identified a rising trend in Hollywood film marketing wherein the director, or auteur, had become commercially galvanised as a brand icon. This thesis updates Corrigan’s treatise on the ‘commerce of auteurism’ to a specific 2017 perspective in order to dismantle the discursive mechanisms by which commodified author-brands create meaning and value in Conglomerate Hollywood’s promotional superstructure. By adopting a tripartite theoretical/industrial/textual analytical framework distinct from the humanistic and subjectivist excesses of traditional auteurism, by which conceptions of film authorship have typically been circumscribed, this thesis seeks to answer the oft-neglected question how does authorship work as it relates to the contemporary blockbuster narrative. Naturally, this necessitates a corresponding understanding of how texts work, which leads to the construction of a spectator-centric cognitive narratorial heuristic that conceptualises ‘the author’ as a hermeneutic code which may be activated when presented with sufficient ‘authorial’ signals. Of course, authorial signals do not only emanate from films but also promotional paratexts such as posters, trailers, production diaries, and home-video special features like the commentary and behind-the-scenes documentary. These paratexts—by no means arbitrary or ancillary—are instrumental in constructing pre-textual expectations and, correspondingly, textual meaning and value. Through the exploitation of Romantic and auteurist maxims art demands an artist and the director is the film artist, the commercial projection of branded authorship sanctifies the product as unique and distinguished, rendering it irresistibly attractive to a consumer irrespective of its actual value; the bet-hedging branded author functions as an a priori guarantor of quality, which is especially important for a post-recession horizontally-integrated entertainment empire for which a film can still be a failure even if it makes dozens of millions of dollars. This thesis investigates the effect and affect of commercial brand-authorship with regards to J.J. Abrams’ authorship of Star Wars: The Force Awakens—how it manifested through a variety of media; how these media were tailored to pander to the fandom; and how online audiences responded to interviews, video-blogs, and SFX reels in order to construct their own utopian presumptive visions of the film. Yet the fetishised auteur-brand carries little interpretive weight and a sole focus on paratexts tells us even less about the textuality of contemporary authorship. Concordantly, this thesis concludes with an extensive authorial reading of Interstellar, The Hobbit trilogy, and the Marvel Cinematic Universe with an eye to how they each use their ‘authors’—and for what ends. This, in turn, leads to an expansion of Gérard Genette’s hypotheses on transtextuality and the discovery of auto-centric transtextual sub-categories: autotextuality (Interstellar), intratextuality (The Hobbit), and unitextuality (Marvel). Unlike an ahistorical auteurism that myopically valorises directorial style for its own sake, this thesis finds that there are numerous ‘types’ of authorship and that ‘Nolan’, ‘Jackson’, and Marvel’s authoriality cannot be understood without a corresponding appreciation of their industrial burdens and commercial imperatives. Constituting a dialectic on ‘authorship’ versus ‘auteurism’, Author Functions, Auteur Fictions engages with a commercialised auteurism that has evolved far beyond Corrigan’s model into a much more endemic and integral socio-economic system: the author-industrial complex.
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Meyers, Rachel Elizabeth. "In Search of an Author: From Participatory Culture to Participatory Authorship." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4140.
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The question of fidelity, which has long been at the center of adaptation studies, pertains to the problem of authorship. Who can be an author and adapt a text and who cannot? In order to understand the problem of fidelity, this thesis asks larger questions about the problems of authorship, examining how authorship is changing in new media. Audiences are taking an ever-increasing role in the creation and interpretation of the texts they receive: a phenomenon this thesis refers to as participatory authorship, or the active participation of audience members in the creation, expansion, and adaptation of another's creative work. In order to understand how audiences are creating texts, first the place of the player within video games is addressed. Due to the nature of the medium, players must become active co-creators of a video game. Drawing a parallel between video game players and performance, it is argued that players must simultaneously perform and author a text, illustrating the complex and multilayered nature of authorship in video games. In the second chapter the role of the fan is examined within the context of the My Little Pony fandom, Bronies. Like players, fans take an active role in the creation of the text and destabilize the traditional notion of authorship by partially controlling of a text from the original author. By examining the place of the player and the fan the traditional notion of authorship is destabilized, and the more open and collaborative model of participatory authorship is proposed.
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Marshall, Matt, and n/a. "GHOST STORIES WITHOUT GHOSTS: A STUDY OF AUTHORSHIP IN THE FILM SCRIPT ?THE SEABORNE?" University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20090106.150522.
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In 'The Crypt, the Haunted House of Cinema', Cholodenko argues that film is,
metaphorically speaking, a haunted house: an instance of the uncanny. This raises the
possibility the film script is also uncanny, from the Freudian notion of das Unheimliche,
the strangely familiar and familiarly strange - and thus also a haunted house. This
proposition engenders a search as self-reflexive practice for that which haunts the script'
an uncanny process to explore the uncanny. The search requires drawing on Barthes,
acting 'as dead' with that process' attendant contradictions and problematics' the most
likely ghost in the script being the writing self.
Establishing the characteristics of the writing self involves distinguishing that figure from
the author. This requires outlining the development of theories of the author from the
concept of authorial will, as per the argument of Hirsch, to the abnegation of the author as
a philosophical certainty. Barthes and Foucault call this abnegation the death of the
author. Rather than that marking the end of a particular branch of analysis, the death of
the author can be considered an opening to the writing practice. From this perspective,
the death of the author becomes a strategy in Foucault's game of writing, effecting the
obfuscation of the writing self, by placing a figure as dead, the author figure, within the
metaphorical topography of the text. Indeed, the author as dead is akin to a character in
the narrative but at a substratum level of the text. What places this dead figure within the
text is an uncanny writing self, a figure of transgression, brought into being in the
experience of Blanchot's essential solitude.
'The Seaborne' written by Matt Marshall, provides an example of a film script that
constitutes a haunted house, a site of the uncanny. In terms of the generic characteristics
of the film script as text type, its relative unimportance in relation to any subsequent film
based on the script becomes of itself a feature of the film script. This makes the film
script a site of negotiation and contestation between the implied author as hidden director
on the one hand and the implied reader as implied director on the other. This confirms
the film script as, using Sternberg's terminology, a blueprint text type. Examples of the
negotiation and relationship between hidden director and implied director are found in
analysis of 'The Seaborne' as are the tensions in the relationship between the
individualistic impulses of the hidden director and the mechanistic, formal requirements
of the text type as blueprint. These tensions are ameliorated by the hidden director who
is then effaced within the constructed layers of the film script text to allow interpretive
space for the implied director.
'The Seaborne' as representative of the film script text becomes the after-image of a
written text and the foreshadowing of a future filmic one. It therefore never finds
completion within its own construction process and its formation begins in templates that
accord with the Bakhtin's description of the epic, as is shown by comparing the
construction notes for 'The Seaborne' with Aristotlean dramatic requirements. But at the
same time there is present in 'The Seaborne' a Bakhtinian dialogism that points towards
the individual markers of a writing self. This writing self, referring to Kristeva, is a
figure of abjection. It transgresses itself and transgresses its own transgressions. It is a
ghost in a ghost story without ghosts.
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Westfall, Joseph. "The Kierkegaardian author authorship and performance in Kierkegaard's literary and dramatic criticism." Berlin New York de Gruyter, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2909222&prov=M&dok_var=1&dok_ext=htm.
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Westfall, Joseph. "The Kierkegaardian author : authorship and performance in Kierkegaard's literary and dramatic criticism /." Berlin [u.a.] : de Gruyter, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2909222&prov=M&dokv̲ar=1&doke̲xt=htm.
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SILVA, J. P. T. "Entre a visibilidade e o sumiço: autor e autoria em Se um Viajante numa noite de inverno, de Italo Calvino." Universidade Federal do Espírito Santo, 2014. http://repositorio.ufes.br/handle/10/3278.
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Previous issue date: 2014-06-13<br>Em fins da década de 1960, estudiosos como Michel Foucault e Roland Barthes ajudaram a modificar a atuação da crítica literária francesa, ainda muito apegada às perspectivas biografistas. Embora com propostas diversas, os referidos pesquisadores são considerados
alguns dos maiores responsáveis pelo redimensionamento do papel que cabe ao autor na literatura e na interpretação literária. Uma década depois, Italo Calvino publica o romance Se um viajante numa noite de inverno, no qual, em meio à ficção, apresenta e discute diversos tópicos das teorias literárias então em voga, em especial a tese da morte do autor defendida por Barthes. A obra do escritor italiano é considerada por muitos críticos como sectária das ideias do semiólogo francês, porém essa premissa não é totalmente aceita. O romance critica a concepção superestimada de autor, mas, ao mesmo tempo, desconfia da proposta teórica que busca eliminá-lo. O objetivo desta dissertação é discutir a noção de autor e a questão da autoria literária por meio da obra de Italo Calvino aqui assumida como objeto de análise. A pesquisa teve como foco dois pontos distintos e interligados: apresentar a polêmica acerca da figura do autor sua pertinência ou não para a interpretação, sua ausência ou presença no texto , discutindo essencialmente a noção de intenção e a morte barthesiana; e ainda relacionar essa crítica, que diminuía a importância do autor, com o pensamento teórico de Italo Calvino para, assim, averiguar de que modo a querela envolvendo a figura do autor é discutida no romance. Dentre os norteadores da discussão, utilizamos o pensamento de Roland Barthes e de Michel Foucault, bem como as considerações do próprio Calvino expostas em diversos de seus ensaios.
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Baker, Marianne Lind. "Humphry Davy: Science, Authorship, and the Changing Romantic." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2647.
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In the mid to late 1700s, men of letters became more and more interested in the natural world. From studies in astronomy to biology, chemistry, and medicine, these "philosophers" pioneered what would become our current scientific categories. While the significance of their contributions to these fields has been widely appreciated historically, the interconnection between these men and their literary counterparts has not. A study of the "Romantic man of science" reveals how much that figure has in common with the traditional "Romantic" literary figure embodied by poets like William Wordsworth and Samuel Taylor Coleridge. This thesis interrogates connections between Romantic literature and science by examining the figure of the "Romantic" author. In his 1969 essay "What is an Author?" Foucault called into question the way we think about authorship. Foucault states that before the late eighteenth-century, what we call "literary" texts "were accepted, put into circulation and valorized without any question about the identity of the author" (108). Simultaneously, scientific texts "were accepted in the Middle Ages, [. . .] only when marked with the name of their author" (109). Foucault argues that norms of authorship underwent a reversal in the eighteenth century. The result of this shift is that "literary discourses came to be accepted only when endowed with the author function" while in the sciences, the author function faded away (109). A case study of the scientist Humphry Davy disrupts Foucault's suggestion that a total reversal in the workings of the author function was achieved by the Romantic period. I argue that Davy is an exception to Foucault's history of authorship and that Davy's authorial identity in the sciences as "the public man of science" is equal to the author function of literary figures of the same period. Davy pioneered the "public man of science," a figure who corresponds nearly perfectly with the emerging figure of the "author" in the literary sphere. Ultimately we see Davy as a figure who embodies and reconstructs the "Romantic I" and requires us to reconsider the category of scientific authorship and the figure of the scientist as author.
Books on the topic "Author and authorship"
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American Mathematical Society. AMS author handbook. American Mathematical Society, 1994.
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Penn, Joanna. Business for authors: How to be an author entrepreneur. The Creative Penn Limited, 2014.
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Evanovich, Janet. Janet Evanovich's how I write: Secrets of a bestselling author. St. Martin's Griffin, 2006.
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Reed, Kennette. From idea to author: How to become successfully published. KRA Publications, 2008.
Find full textBook chapters on the topic "Author and authorship"
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Otto, Marcus. "Textbook Authors, Authorship, and Author Function." In The Palgrave Handbook of Textbook Studies. Palgrave Macmillan US, 2018. http://dx.doi.org/10.1057/978-1-137-53142-1_6.
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Geal, Robert. "The Dead Author and the Concealed Author." In Anamorphic Authorship in Canonical Film Adaptation. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16496-6_4.
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Gray, Jonathan. "When is the Author?" In A Companion to Media Authorship. Wiley-Blackwell, 2013. http://dx.doi.org/10.1002/9781118505526.ch5.
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Scott, Suzanne. "Dawn of the Undead Author." In A Companion to Media Authorship. Wiley-Blackwell, 2013. http://dx.doi.org/10.1002/9781118505526.ch23.
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Busse, Kristina. "The Return of the Author." In A Companion to Media Authorship. Wiley-Blackwell, 2013. http://dx.doi.org/10.1002/9781118505526.ch3.
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Partridge, Stephen. "Introduction: Author, Reader, Book, and Medieval Authorship in Theory and Practice." In Author, Reader, Book, edited by Stephen Partridge and Erik Kwakkel. University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442665743-003.
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Rainsford, Dominic. "Meeting the Author/Facing the Book." In Authorship, Ethics and the Reader. Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230377516_9.
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Sage, Victor. "The Author, the Editor, and the Fissured Text: Scott, Maturin and Hogg." In Authorship in Context. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230206120_2.
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Summers, Caroline. "The Author as Feminist: Kassandra." In Examining Text and Authorship in Translation. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-40183-6_4.
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Geal, Robert. "The Drama of the Diegetic Author." In Anamorphic Authorship in Canonical Film Adaptation. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16496-6_8.
Full textConference papers on the topic "Author and authorship"
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Tao Peng, Delong Zhang, Xiaoming Liu, Shang Wang, and Wanli Zuo. "Central Author Mining from Co-authorship Network." In 2013 6th International Symposium on Computational Intelligence and Design (ISCID). IEEE, 2013. http://dx.doi.org/10.1109/iscid.2013.64.
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Momeni, Fakhri, and Philipp Mayr. "Using Co-authorship Networks for Author Name Disambiguation." In JCDL '16: The 16th ACM/IEEE-CS Joint Conference on Digital Libraries. ACM, 2016. http://dx.doi.org/10.1145/2910896.2925461.
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Homem, Nuno, and Joao Paulo Carvalho. "Authorship identification and author fuzzy “fingerprints”." In NAFIPS 2011 - 2011 Annual Meeting of the North American Fuzzy Information Processing Society. IEEE, 2011. http://dx.doi.org/10.1109/nafips.2011.5751998.
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Plank, Barbara. "Predicting Authorship and Author Traits from Keystroke Dynamics." In Proceedings of the Second Workshop on Computational Modeling of People’s Opinions, Personality, and Emotions in Social Media. Association for Computational Linguistics, 2018. http://dx.doi.org/10.18653/v1/w18-1113.
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Gureyev, Vadim, Irina Lakizo, and Nikolay Mazov. "Unfair authorship in science publications and approaches to eliminate it." In The Book. Culture. Education. Innovations. Russian National Public Library for Science and Technology, 2020. http://dx.doi.org/10.33186/978-5-85638-223-4-2020-71-76.
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Unfair authorship is one of the most common violations of the publication ethics. These violations comprise «guest», «donated» and «invisible» authorship when the author line indicates the persons that actually are not the authors, or, instead lacks actual executors of studies. This phenomenon is characteristic for the world as a whole; however the developing states striving to carry science to a new level, are the most vulnerable. This is due to inefficient science management, in particular due to formal approach to researcher efficiency evaluation, due to the citation and publication activity indicators use when employing staff, career promotion, giving grants, etc. Scientific and publication communities develop approaches to fight unfair authorship, including implementation of special authorship indicators, new regulations and instructions for editors, reviewers and authors. The bibliometrical approaches are also seen as promising ones. The current status of the problems and solutions are characterized.
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Ouyang, Linshu, Yongzheng Zhang, Hui Liu, Yige Chen, and Yipeng Wang. "Gated POS-Level Language Model for Authorship Verification." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/557.
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Authorship verification is an important problem that has many applications. The state-of-the-art deep authorship verification methods typically leverage character-level language models to encode author-specific writing styles. However, they often fail to capture syntactic level patterns, leading to sub-optimal accuracy in cross-topic scenarios. Also, due to imperfect cross-author parameter sharing, it's difficult for them to distinguish author-specific writing style from common patterns, leading to data-inefficient learning. This paper introduces a novel POS-level (Part of Speech) gated RNN based language model to effectively learn the author-specific syntactic styles. The author-agnostic syntactic information obtained from the POS tagger pre-trained on large external datasets greatly reduces the number of effective parameters of our model, enabling the model to learn accurate author-specific syntactic styles with limited training data. We also utilize a gated architecture to learn the common syntactic writing styles with a small set of shared parameters and let the author-specific parameters focus on each author's special syntactic styles. Extensive experimental results show that our method achieves significantly better accuracy than state-of-the-art competing methods, especially in cross-topic scenarios (over 5\% in terms of AUC-ROC).
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Layton, Robert, Stephen McCombie, and Paul Watters. "Authorship Attribution of IRC Messages Using Inverse Author Frequency." In 2012 Third Cybercrime and Trustworthy Computing Workshop (CTC). IEEE, 2012. http://dx.doi.org/10.1109/ctc.2012.11.
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Faust, Christina, Gerry Dozier, Jinsheng Xu, and Michael C. King. "Adversarial authorship, interactive evolutionary hill-climbing, and author CAAT-III." In 2017 IEEE Symposium Series on Computational Intelligence (SSCI). IEEE, 2017. http://dx.doi.org/10.1109/ssci.2017.8285355.
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Hazimeh, Hussein, Iman Youness, Jawad Makki, et al. "Leveraging Co-authorship and Biographical Information for Author Ambiguity Resolution in DBLP." In 2016 IEEE 30th International Conference on Advanced Information Networking and Applications (AINA). IEEE, 2016. http://dx.doi.org/10.1109/aina.2016.61.
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Sanderson, Conrad, and Simon Guenter. "Short text authorship attribution via sequence kernels, Markov chains and author unmasking." In the 2006 Conference. Association for Computational Linguistics, 2006. http://dx.doi.org/10.3115/1610075.1610142.
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