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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.
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Kaley, Heather L. "William Caxton: England's First Print Author." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1398275503.
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Becker, Michael Edward. "The Space Between: How Hypertext Affects the Author/Reader Divide." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/becker/BeckerM0507.pdf.
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Authors and readers have been in conflict since the invention of writing, battling over the right to interpret a written document. This has artificially created a split between these two institutions, a split typically divided between those who have the power and money to publish their words to a mass audience and those whose words have been repressed by that publishing system. This thesis examines, through the lens of deconstruction and other post-structuralist threories, how hypertext and other digital technologies have empowered reader to take back some of the functions historically granted to authors. Through blogs, interactive Web sites, and electronic literatures, readers can assume a larger role in the creative process. However, with more power comes more danger for manipulation, as authors have also become more canny with the rise of electronic text. Though readers have more freedom, they must also face an increased potential for mediation and manipulation outside of their control. This thesis determines that although the gap between authors and readers is narrowing, many of the old conflicts are too ingrained to ever be settled.
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ARAGAO, AURELIO ORTH DE. "THE WAYS OF THE AUTHOR?: THE PLOT OF AUTHORSHIP BETWEEN CINEMA AND CONTEMPORARY BRAZILIAN LITERATURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=19271@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>A dissertação pretende percorrer os caminhos de escritores e cineastas
contemporâneos por um cenário de crescente diluição de fronteiras entre os meios
artísticos e midiáticos. O atual contexto de intensa permeabilidade e mobilidade
entre as linguagens audiovisual e escrita, e a continua penetração de mecanismos
do mercado na interação entre os dois meios propõem severos desafios a
categorias até então consolidadas para a definição dos campos da arte. Entre os
conceitos colocados em questão, podemos reconhecer um processo de progressiva
instabilização da noção de autoria. A partir da análise da obra de Marçal Aquino,
Beto Brant e Lourenço Mutarelli, essa pesquisa irá investigar o impacto do atual
contexto sobre as obras desses artistas e de que maneira cada um deles pode
responder aos dilemas que a nova configuração lhes apresenta.<br>The thesis proposes to follow the paths of contemporary writers and filmmakers in
a world of increasing dilution of the boundaries between artistic mediums and
media. The current context of intense permeability and mobility between the
audiovisual and written languages and continuous penetration of market
mechanisms in the interaction between the two medias categories offers severe
challenges to some of the consolidateds definitions of the fields of art. Among
them, the notion of authorship especially passes through a process of progressive
instability. From the analysis of the work of Marcal Aquino, Beto Brant and
Lourenço Mutarelli, this research will investigate the impact of the current context
on the works of these artists and how each may respond to the dilemmas that the
new situation presents to them.
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Hager, Steven Christopher. "An Incompatibility between Intentionalism and Multiple Authorship in Film." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/philosophy_theses/57.
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The multiple authorship view for film is the claim that multiple authors exist for almost any given film. This view is a recent development in opposition to the longstanding single authorship view which holds that there is only one author for every film, usually the director. One of the most often-cited reasons in support of the multiple authorship claim is that multiple authorship views more successfully explain the following fact about filmmaking better than single authorship views: filmmakers’ intentions sometimes conflict with each other during the production of a film. However, since multiple authorship views cannot adequately explain how a single filmic utterance can result from conflicting intentions, I want to argue that the single authorship view should be reinstated in those special cases where two or more agents are involved in the production of a filmic utterance and where the intentions of those agents are incompatible.
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Schneider, Molly B. "Naming the Author: Incorporating Theory into Classroom Practice." Miami University Honors Theses / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1177680826.
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Hawley, Earl J. Graves Heather Brodie. "Is there an author(ity) in this class gender and resistance in the composition classroom /." Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9835907.
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Thesis (Ph. D.)--Illinois State University, 1998.<br>Title from title page screen, viewed July 3, 2006. Dissertation Committee: Heather A. Graves (chair), Dana K. Harrington, Janice G. Neuleib. Includes bibliographical references (leaves 184-196) and abstract. Also available in print.
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Lavin, Matthew Josef. "Collaborative momentum: the author and the middle man in U.S. literature and culture." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/1352.
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In the frame introduction to Willa Cather's My Ántonia (1918), an unnamed author encounters her childhood friend Jim Burden on a cross-country train. Jim asks the author why she has never written anything about their mutual friend Ántonia. To answer Jim's criticism, she proposes they both write stories about Ántonia, but only Jim honors the agreement. The rest of the novel is put forth as Jim's manuscript "substantially" as he brought it to the author (xii). This scenario is but one of several ways My Ántonia evokes Cather's experience ghostwriting S.S. McClure's My Autobiography (1914) for, just as the authorial voice in My Ántonia dissolves into Jim's, Cather had to adopt McClure's perspective to write her former employer's life story. Going further, Cather worked closely with her book editor Ferris Greenslet and the production editor R.L. Scaife to be sure Houghton Mifflin would paginate the introduction with roman numerals and thereby produce the effect of a true authorial preface. The introduction recalls the preface of McClure's autobiography, which acknowledged Cather for "cooperation" that contributed to "the very existence" of his book.
Interpreting My Ántonia and My Autobiography as projects connected by authorial process, textual allusion, and even typesetting suggests the complicated and elusive nature of collaborative labor in the literary marketplace, as well as the extent to which modern literary texts responded to those complexities. Working on a task or project with a partner or in a group can frustrate, energize or empower those involved, but whatever feelings it inspires, interactive labor often has a life of its own. This is the idea of collaborative momentum. My dissertation examines relationships among authors, agents, editors, publishers, and unofficial "middle men" to argue that supportive and adversarial cycles of interactive labor in the modern American literary marketplace created the basic parameters of modern authorship. I show that as professional specialization becomes more rigid and institutionalized, the literary field paradoxically created new spaces for nebulous but crucial cooperative labor. In particular, the effect I call collaborative momentum facilitated the exchange of economic and symbolic capital. Additionally, I show that narratives of the modern period are inextricably invested in corporate and institutional labor systems that surround them and can be interpreted as rhetorical attempts to reform and improve those systems.
By analyzing the author's cultural identity in relation to rising institutional collaborators of the modern era, I contribute to the steadily growing field of authorship studies while adding to ongoing scholarly conversations about individual authors and texts. My chapters analyze the systemic production of literary identity, reciprocal relationships between editors and authors, the modern apparatus of literary debut, and the role bibliophilia and book collecting played in the production of The New Negro. I therefore highlight four paradigmatic examples of interactive labor while simultaneously emphasizing that collaborative momentum as I describe it was crucial not only to those with privilege but also to individuals and groups struggling against inequality, whether it was Salish novelist D'Arcy McNickle, Alain LeRoy Locke, or self-employed literary agent Flora May Holly. My work helps scholars see a power structure that granted disproportionate credibility to white men as literary creators and publishing industry insiders, yet it also shows a modern American literary culture shaped as much by the experience of marginalized individuals and groups negotiating a discriminatory publishing industry as it was by aesthetic contests between popular fiction and high modernism.
My first chapter, Character, Personality, and the Editor Figure: William Dean Howells and the Institution of Image-Building establishes that the same cultural logic that allowed Samuel Clemens to develop a public persona as a fictional character also empowered William Dean Howells to create his literary identity as the nation's foremost editor figure. Further, I argue that image-building was a collaborative affair; Howells and many others helped define Mark Twain, and countless authors and critics came to define Howells as the Dean of American Letters in the 1890s and as America's "pious old maid" after his death in 1920. I argue that Howells' persona-work extends to his novel A Hazard of New Fortunes (1890). The main characters--co-founders of a fictional literary magazine--have contrasting identities: one is ostentatious but lacks substance; the other is so unsure he hardly has an identity. Labor crises at the magazine and in the city streets gesture at the problematic nature of a personality-driven culture that had come to define selfhood without emphasizing a moral or ethical element.
In chapter two, "Reciprocity and the `Real' Author: Willa Cather as S.S. McClure's Ghostwriter," I trace a cycle of debt--monetary and symbolic--from McClure's rise as magazine editor to a moment of financial crisis in 1912 that led his corporate board to oust him from his own magazine. To pay off his debts, he asked Willa Cather to author his autobiography. I read the ghostwriting project as an example of how mutual debt is generative, for Cather accepted the role out of personal loyalty and took no money for her work. Cather's fictional works, including My Ántonia and The Professor's House (1925), engage with the cycle of debt and indebtedness and imagine a narrative exchange unclouded by any question of money but tied, instead, to a dream of self-sacrificing friendship. My article "It's Mr. Reynolds Who Wishes It: Profit and Prestige Shared by Cather and Her Literary Agent," in Cather Studies Volume 9, "Willa Cather and Modern Cultures," draws on material from this chapter.
My third chapter, "Discovery of the Month: D'Arcy McNickle and the Apparatus of Literary Debut" takes up as its interpretive focus changing institutions of literary career-launching. My approach brings together two scholarly conversations, one preoccupied with McNickle's refinement of his perception of Native cultures and the other, informed by a history of the book methodology, concerned with the cultural systems that codified twentieth-century authorial identity and credibility. McNickle is an important example of how institutions of discovery functioned. The exceptional aspects of McNickle's story--the nine-year duration of his effort to publish his first book, his outsider identity, and the number of avenues he tried in order to become established make him an ideal example. To better understand McNickle's relationship with literary agent Ruth Rae, I frame my analysis with the story of the literary agent's rise as an integral figure in literary debut. Turning to McNickle's fiction in the second part of this chapter, I analyze his The Surrounded as a reaction to cultural institutions of literary discovery. McNickle narrates the tragedy of failed mediation and gestures at an alternative model of interaction. He embeds this thematic exploration in his allusions to the Salish oral tradition, so that the text itself mediates an experience of cultural discovery.
Chapter four, "Irrepressible Anthologies, Collectible: Bibliophilia and Book Collecting in the New Negro," continues my analysis of the literary middle man's collision with American modernity by tracing the intersection of anthology, book collecting, and bibliophilia as they pertain to The New Negro's book design, artistic form, and multi-generic content. While recent studies have linked the anthology to Boazian ethnography and modernist collage, I provide a more immediate reading of the philosophies of collecting inherent to modern and African American print cultures. I read The New Negro as a book production process structured by efforts to produce an object worthy of being collected. My also analyzes of how the anthology's book design interacts with the positions on materiality and collecting at play in its collected prose and poetry. This case study of the creator-intermediary as collector historicizes modern book collecting and appreciates African American bibliophiles as an alternative to the dominant white American and European book collecting traditions. Appreciating these distinctions suggests, ultimately, that a significant aspect of the exchange of economic and symbolic capital in the modern age was to mediate a contested present day by refashioning ideas about the past.
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Smith, Jennifer. "Theorizing Digital Narrative: Beginnings, Endings, and Authorship." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/316.
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Since its development, critics of electronic literature have touted all that is “new” about the field, commenting on how these works make revolutionary use of non-linear structure, hyperlinks, and user interaction. Scholars of digital narrative have most often focused their critiques within the paradigms of either the text-centric structuralist model of narrativity or post-structuralist models that implicate the text as fundamentally fluid and dependent upon its reader for meaning. But neither of these approaches can account completely for the unique modes in which digital narratives prompt readerly progression, yet still exist as independent creative artifacts marked by purposive design. I argue that, in both practice and theory, we must approach digital-born narratives as belonging to a third, hybrid paradigm. In contrast to standard critical approaches, I interrogate the presumed “newness” of digital narratives to reveal many aspects of these works that hearken to print predecessors and thus confirm classical narratological theories of structure and authorship. Simultaneously, though, I demonstrate that narrative theory must be revised and expanded to account for some of the innovative techniques inherent to digital-born narrative. Across media formats, theories of narrative beginnings, endings, and authorship contribute to understanding of readerly progress and comprehension. My analysis of Leishman’s electronically animated work Deviant: The Possession of Christian Shaw shows how digital narratives extend theories of narrative beginnings, confirming theoretical suitability of existing rules of notice, expectations for mouseover actions, and the role of institutional and authorial antetexts. My close study of Jackson’s hypertext my body: a Wunderkammer likewise informs scholarship on narrative endings, as my body does not provide a neatly linear plot, and thus does not cleanly correspond to theories of endings that revolve around conceptions of instabilities or tensions. Yet I argue that there is still compelling reason to read for narrative closure, and thus narrative coherence, within this and other digital works. Finally, my inquiry into Pullinger and Joseph’s collaboratively written Flight Paths: A Networked Novel firmly justifies the theory of implied authorship in both print and digital environments and confirms the suitability of this construct to a range of texts.
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Hammad, Hayssam Mohammed Saber Abdallah. "Ownership and authorship in copyright law : a proposal to re-categorise works and a digital implementation." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/17636.
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The thesis argues that there is a pressure on the authorship concept since the emergence of collections of facts, anthologies, and adaptations of pre-existing works. These works were the reason that Judges offered various interpretations to authorship and originality, as some Judges lessened the requirement of originality to obtain copyrightability for these works and some raised it. This led to make the protection granted by copyright law to intellectual works vague and uncertain. This became apparent in conflicts in courts decisions on copyright subsistence in works. This subsequently led to confusion around the criteria of interpretation that should be adopted and the theory or justification that copyright law is founded upon. The thesis argues that this vagueness and uncertainty is related not to the authorship concept but to the failure of law to adapt to two separate natures of works, one including authorial, mental and personal contribution and the other only including manually skilful contribution. Those two kinds cannot be subject to same principles or justifications of protection. The inexistence of such differentiation in doctrine, judiciary and legislation led to the distortion of authorship and originality concepts in the attempts to reduce their interpretation to suit those works that actually miss authorial contribution. Alternatively, whole attention was paid to granting ownership to right holders of these works, which led to the prevalence of the ownership concept as being a necessity for the marketability of cultural works over the authorship concept. The thesis finds that this difference in nature can be uncovered by settling on a differentiation between two kinds of skills that are used in creating works: the mental skills, which are authorial skills, on the one side, and manual skills, which are the collecting, combining, performing or executing skills, on the other. Accordingly, this thesis proposes a categorisation of works, that of ‘high, low and non-authorship’ works, which relies on the nature of the works and elements of authorship in the work. The thesis finds that every category of works needs a separate criterion that can suit its nature and constituent authorship elements; also, the protection needs to be graded depending on the level of authorship in the work. This thesis suggests that such a legal proposition be implemented digitally in what it calls the ‘Digital Cultural National Gate’, which decides the category the work should belong to and the correspondent protection, and that through some questionnaires on the work the authorship elements can be recognised.
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Schneider, Michael J. "A Study on the Efficacy of Sentiment Analysis in Author Attribution." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2538.
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The field of authorship attribution seeks to characterize an author’s writing style well enough to determine whether he or she has written a text of interest. One subfield of authorship attribution, stylometry, seeks to find the necessary literary attributes to quantify an author’s writing style. The research presented here sought to determine the efficacy of sentiment analysis as a new stylometric feature, by comparing its performance in attributing authorship against the performance of traditional stylometric features. Experimentation, with a corpus of sci-fi texts, found sentiment analysis to have a much lower performance in assigning authorship than the traditional stylometric features.
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Cifuente, Amanda. "Embates, nuances e desdobramentos: questões para pensar a autoria na obra de arte." Universidade do Estado de Santa Catarina, 2011. http://tede.udesc.br/handle/handle/667.
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Previous issue date: 2011-11-17<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation approach the authorship in the work of visual art, taking as its starting point the analysis of some clashes, nuances and developments around it. Used as reference to structure the thought of this research is the text What is an author?, by Michel Foucault; and The death of the author, by Roland Barthes. Is considering the dialogue with some of the issues raised by the literature writer Enrique Vila-Matas. This work outlined some arguments in XX and XXI century, for example: the (non) place of authorship and dialogue with art historians; nuances from Readymade, Fluxus, Dada and Conceptual Art, and developments of three cases exemplified of authorship in contemporary art by recognized, articulated and institutionalized<br>Esta dissertação trata da autoria na obra das artes visuais, tendo como ponto de partida a análise de certos embates, nuances e desdobramentos em torno da mesma. Utiliza-se como referências que estruturam o pensamento desta pesquisa o texto O que é um autor?, de Michel Foucault; e A morte do autor, de Roland Barthes. Considera-se a interlocução com algumas questões levantadas pela literatura do escritor Enrique Vila-Matas. Neste trabalho são delineados alguns embates no século XX e XXI, como, por exemplo: o (não)lugar da autoria e o diálogo com historiadores da arte; nuances a partir do Readymade, Fluxus, Dadaísmo e Arte Conceitual; e desdobramentos de três casos exemplificadores na arte contemporânea da autoria por reconhecimento, articulada e institucionalizada
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Rodriguez, Jorge J. "The rape of the author how Charles Mee (re)defines authorship and its manifestation in his play Big Love /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1024.
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Olsson, John Gabriel. "Towards the modelling of forensic authorship methods in the light of aspects of idiolect, text, author and genre relations." Thesis, University of South Wales, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509113.
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Currently, some prominent forensic linguists rely on notions of the idiolect to undertake forensic authorship comparisons. The first project questions the validity of this doctrine, firstly by examining how authorship and its subsidiary activity of attribution, based on concepts such as style and individual distinctiveness, came into existence. The writings and casework of several forensic linguists are quoted from: it is seen that the notion of distinctiveness has been embraced by these practitioners to the neglect of a balanced observation of variation. A mobile phone corpus was built in order to evaluate the degree of variation in this form of written language. It was found, as expected, that variation is the norm and not the exception - contrary to the claims of some forensic linguists. The second project studies the nature of variability in genre and non genre text, examining factors which can contribute to author or textual variation, including aspects of register and context. An experiment into genre variation is carried out in order to discover the sources and causes of variation. The experiment shows that variation is not author based, but is genre dependent, related mainly to questions of time and tropic factors. The final project outlines an approach to the authorship of mobile phone texts and provides a sample method of authorship comparison based on the notion of range of variation, a concept modified from sociolinguistics. Because all forensic work is carried out within the context of legal requirements and evidence rules these are placed at the heart of the approach and methodology. The research programme reported here demonstrates the importance of a principled, variable-based, selection procedure for test features and the need for an understanding of variation, and it highlights the inadequacy of the notion of the idiolect (as this concept is interpreted by some forensic linguists) for forensic authorship comparison. It underlines the importance of the sociolinguistic observation that style is more usually a property of context and text than it is of the author
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Pavis, Mathilde Goizane Alice. "The author-performer divide in intellectual property law : a comparative analysis of the American, Australian, British and French legal frameworks." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/23692.
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Western intellectual property frameworks have at least one feature in common: performers are less protected than authors. This situation knows many justifications, although all but one have been dismissed by the literature: performers are simply less creative than authors. As a result, the legal protection covering their work has been proportionally reduced compared to that of their authorial peers. This thesis investigates this phenomenon that it calls the 'author-performer divide'. It uncovers the culturally-rooted principles and legal reasoning that policy-makers and judges of Australia, France, the United Kingdom and the United States have developed to create in the legal narrative a hierarchy between authors and performers. It reveals that those intellectual property systems, though continuously reformed, still contain outdated conceptions of creativity based on the belief in ex nihilo creation and over-intellectualised representations of the creative process. Those two precepts combined have led legal discourse to portray performers as their authors' puppets, thus underserving of authorship themselves. This thesis reviews arguments raised against improving the performers' regime to challenge the preconception of performers as uncreative agents and questions the divide it supports. To this end, it seeks to update the representations of creativity currently conveyed in the law by drawing on the findings of other academic disciplines such as creativity research, performance theories as well as music, theatre and dance studies. This comparative inter-disciplinary study aims to move current legal debates on performers' rights away from the recurring themes and repeated arguments in the scholarship such as issues of fixation or of competing claims, all of which have made conversations stagnate. By including disciplines beyond the law, this analysis seeks to advance the legal literature on the question of performers' intellectual property protection and shift thinking about performative forms of creativity.
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Taylor, Quinn Carlson. "Analysis and Characterization of Author Contribution Patterns in Open Source Software Development." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/2971.
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Software development is a process fraught with unpredictability, in part because software is created by people. Human interactions add complexity to development processes, and collaborative development can become a liability if not properly understood and managed. Recent years have seen an increase in the use of data mining techniques on publicly-available repository data with the goal of improving software development processes, and by extension, software quality. In this thesis, we introduce the concept of author entropy as a metric for quantifying interaction and collaboration (both within individual files and across projects), present results from two empirical observational studies of open-source projects, identify and analyze authorship and collaboration patterns within source code, demonstrate techniques for visualizing authorship patterns, and propose avenues for further research.
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Barros, Luciana Borges Alves Pinto e. "Autores velados e revelados: uma análise do discurso de alunos de letras." Universidade Federal de Uberlândia, 2006. https://repositorio.ufu.br/handle/123456789/15316.
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This paper presents the construction of a possible trajectory in the constitution of
authorship by three students from the CAJ Modern Language course. To tread along the
route of this reconstitution came from the analysis of these students essays, done in
their last university year, as an obligatory inquiry in the Portuguese Teaching subject.
The Modern Language student, who is about to graduate, seen in this work as a subjectauthor,
is a reader who happens to read themselves, assuming texts in order to
compose others. We know that writing exists after the subject s reading, who wishes a
unique view and, from this point, they (re)construct it from the first reproduction. In this
manner, authorship is viewed in this study as a single process, with the presence of the
Other that allows the (un)veiling process in a non-organized and unpredictable way
inside of the subject-constructor of their own authorship. To analyse students
discourses in their essays shows how singularity occurs truly and goes beyond the
ready and used concept of students education: after all, they educate themselves based
on their own manners and with their Others, and all the time.<br>Este trabalho apresenta a construção de um possível percurso da constituição da
autoria por três alunos do Curso de Letras do Campus Avançado de Jataí (CAJ). Trilhar
pelo caminho dessa reconstituição se deu a partir de análises das monografias desses
alunos, realizadas no último ano de graduação, como quesito obrigatório da disciplina
Didática e Prática de Ensino de Português. O graduando em Letras, visto aqui como
sujeito-autor, é um leitor que passa a ler a si mesmo, apropriando-se de textos para
compor outros. Sabemos que a escrita existe após a leitura do sujeito, que deseja uma
visão ímpar e, daí a (re)constrói a partir da reprodução primeira. Sendo assim, a autoria
é vista neste trabalho como um processo singular, com a presença do Outro que
permite com que vá se (re)velando de modo nada organizado e nada previsível dentro
do sujeito-construtor da sua própria autoria. Analisar os discursos dos alunos em seus
trabalhos monográficos mostra como a singularidade acontece e atravessa a
concepção pronta e acabada de formação de alunos: afinal eles se formam a seus
modos e com seus Outros e o tempo todo.<br>Mestre em Lingüística
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Guzda-Rivière, Frédéric. "L' au(c)torité de l'artiste et ses paradoxes : tentative de relecture historique, critique et poïétique du statut de l'artiste." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H303/document.
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Le premier travail de cette thèse a consisté à envisager l'artiste, essentiellement, comme un auteur. Il nous a conduit à suggérer, quant à l'auteur, que sa mort jadis annoncée imposait de penser sa résurrection à partir d'autres catégories et outils conceptuels que ceux qui ont permis de constater son décès. Après avoir démontré, d'une part, que l'auctorité (authorship) définissait exemplairement l'artiste, et s'être acquitté, d'autre part, d'un indispensable rappel historique permettant de comprendre les conditions de son apparition, nous avons tâché de faire jouer entre eux (au double sens de mettre en relation et de donner du jeu) les éléments qui structurent le phénomène artistique, ses doctrines et ses discours associés. Nous avons cherché à déceler, dans cet espace non ajusté, propice aux paradoxes et aux contradictions, le lieu d'une possible redéfinition de l'artiste-auteur, bâtie sur une rationalité plus large que celle d'une simple causalité<br>The initial task of this thesis consisted in considering the artist mainly as an author. As for the author, this led us to suggest that his death, once announced, required to think of his resurrection from other criteria and conceptual tools than those which made it possible to bury him. Having established, on the one hand, that authorship defines the intrinsic status of the artist, and put forward, on the other hand, a necessary historical reminder in order to encompass the conditions of its emergence, we attempted to clear up (in the sense of displaying interactions and leaving a clearance between) the elements which structure the artistic phenomenon, its doctrines and related discourses. We sought to uncover, in this unadjusted space full of paradoxes and contradictions, the place of a possible redefinition of the artist-author, built on a rationality broader than that of a mere causality
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Krüger, Anna-Katharina [Verfasser], and Robert [Akademischer Betreuer] Stockhammer. "The birth of the (non) European author : or the deconstruction of authorship in testimonial narration / Anna-Katharina Krüger ; Betreuer: Robert Stockhammer." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2017. http://d-nb.info/1221524283/34.
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Magnéli, Johan. "Write or Perish : How Screenwriters Author their Careers." Thesis, Stockholms universitet, Institutionen för mediestudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-123092.
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The aim of the present study was to investigate how the impermanence of contract work affects working lives, self-perceptions and the career strategies of Swedish screenwriters of finding and keeping work. Furthermore, it also explored how screenwriters experience their abilities to exercise authorial leverage over media content. Introducing the concept of “career authoring” to cover different aspects of the professional lives of screenwriters such as managing a career, establishing authorship and contractual negotiations, the study was able to embrace various mind-sets and strategies for career success. Combining ethnographical studies and textual analyses the study was able to ascertain that the contingency of the Swedish film and television industries necessitates strategies to cultivate reputations, industrial visibility, consciously receive writing credits and conform to a traditional division of labour. Moreover, the study illuminated the importance of contractual negotiations for career success in terms of both retaining and wavering rights to their work. Strategies for exercise increased authorial leverage were not only confined to the script, but extended beyond the page, where the latter accentuated processes of reconfiguring traditional conceptions of screenwriters’ abilities to influence media content.
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Levy-Minzie, Kori. "Authorship attribution in the e-mail domain a study of the effect of size of author corpus and topic on accuracy of identification." Thesis, Monterey, California. Naval Postgraduate School, 2011. http://hdl.handle.net/10945/5780.
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Approved for public release; distribution is unlimited.<br>We determined that it is possible to achieve authorship attribution in the e-mail domain when training on "ersonal" e-mails and testing on "work" e-mails and vice versa. These results are unique since they simulate two different e-mail addresses belonging to the same person where the topic of the e-mails from the two different addresses do not intersect. As we only used one classification technique, these results are preliminary and may serve as a baseline for future work in this area. The corpus of data was the entirety of the Enron corpus as well as a subsection of hand-annotated work and personal e-mails. We discovered that there is enough author signal in each class to identify an author in a sea of noise. We included suggestions for future work in the areas of expanding feature selection, increasing corpus size, and including more classification methods. Advancement in this area will contribute to increasing cyber security by identifying the senders of anonymous derogatory e-mails and reducing cyber bullying.
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Cho, Eun Young. "To Touch the Trace of the Text." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523540210736084.
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Maskell, Katherine Murphy. "Who Wrote Those “Livery Stable Blues”?: Authorship Rights in Jazz and Law as Evidenced in Hart et al. v. Graham." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338343959.
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Sales, Marcea Andrade. "Arquitetura do desejo de aprender: autoria docente em debate." reponame:Repositório Institucional da UFBA, 2009. http://www.repositorio.ufba.br/ri/handle/ri/11889.
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Previous issue date: 2009<br>Esta Tese discute a experiência curricular sobre a formação em exercício de professores em Irecê/BA, na Licenciatura em Pedagogia – séries iniciais. A concepção do Projeto do Curso filiou-se a teorias contemporâneas para compreender a formação docente como uma experiência, vivida tanto pelos professores-cursistas, quanto pela Equipe. O Curso ao adotar o desenho do currículo em rede, rompeu com o modelo disciplinar de ensino e aprendizagem. Isto possibilitou ao professor-cursista optar pelas atividades que desejava cursar e construir seu caminho de aprendizagem, partilhando-o coletivamente com a rede municipal de ensino do município. A intervenção do professor neste currículo (desejo de aprender) e o consequente protagonismo na sua formação acadêmica (autoria docente) foram investigadas a partir da seguinte questão: em que medida o currículo em rede da Licenciatura em Pedagogia, em Irecê, possibilitou o processo autoral dos professores-cursistas, ao vivenciarem seu processo formativo? A concepção de autoria, dispersa em diferentes áreas do conhecimento, como a Filosofia, os estudos na área da Linguagem e em outros campos pontuados neste texto, assumiu, na tese, o centro das discussões sobre a formação docente, tendo o professor como sujeito de suas ações na construção do cotidiano pedagógico. O aporte teórico foi referenciado em autores que discutem a educação na Modernidade - Foucault (1997), Veiga- Neto (2002), Castoriadis (2007) -; abordam demandas contemporâneas para o ensino neste século - Fróes Burnham (1993), Maturana (1998), Macedo (2000), Carvalho (2005) – e discutem a autoria no campo da Linguagem como Barthes (2004) e Bakhtin (1997). No percurso desta Licenciatura os professores elaboraram o Memorial Formação, no qual registraram suas experiências de vida, relacionando-as a sua formação profissional. A leitura e análise destes Memoriais foram a base da estratégia metodológica desta investigação, levando-me ao método de pesquisa autobiográfico. Os relatos dos professores, apresentados neste texto, são um convite à reflexão sobre a necessidade de o professor assumir o protagonismo da sua formação pessoal e individual. O percurso da tese fortaleceu minhas convicções de que o professor deve buscar, cada vez mais, a autoria para a sua formação – pessoal e profissional.<br>Salvador
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Gerbauskas, Karolis. "Baudžiamoji atsakomybė už autorystės pasisavinimą." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110705_132831-80682.
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Auganti intelektinės nuosavybės svarba šiandienos visuomenėje skatina valstybes imtis įvairių teisinių priemonių, sukuriant intelektinės nuosavybės teisinės apsaugos mechanizmą. Nors Lietuvoje galioja daug tarptautinių, Europos Sąjungos bei nacionalinių teisės aktų intelektinės nuosavybės apsaugos srityje, tenka pastebėti, kad teismams santykinai retai tenka nagrinėti bylas, kuriose asmenys kaltinami BK 191 straipsnyje numatytos veikos padarymu. Kartu didesnio dėmesio šiai nusikalstamai veikai pasigendama ir akademinėje visuomenėje, todėl galima teigti, kad ši nusikalstama veika yra mažai nagrinėta tiek doktrininiu, tiek praktiniu lygiu. Tačiau viešoje erdvėje pasirodanti vis nauja informacija apie autorystės pasisavinimo atvejus patvirtina, kad autorystės teisės apsauga išlieka aktuali. Tokia situacija labiau rodo šios nusikalstamos veikos latentiškumą, nei retumą, o vykstantys socialiniai procesai duoda pagrindo tikėtis, kad netolimoje ateityje Lietuvos visuomenės pakantumas bei abejingumas intelektinės nuosavybės pažeidimams mažės, kartu skatindamas vis daugiau asmenų kreiptis dėl savo pažeistų intelektinės nuosavybės teisių gynimo baudžiamojo proceso tvarka.
Šio darbo tikslas – įvertinti baudžiamosios atsakomybės už autorystės pasisavinimą teisinį reglamentavimą Lietuvos Respublikoje doktrininiu bei teisminiu praktiniu aspektais. Darbe apžvelgiama autorystės apsauga Lietuvoje nacionaliniu ir tarptautiniu lygiu, analizuojama autorystės pasisavinimo veika doktrininiu bei... [toliau žr. visą tekstą]<br>-.<br>Die wachsende Bedeutung des geistigen Eigentums in der heutigen Gesellchaft fördert die Staaten an verschiedene gesetzliche Maßnahmen zu ergreifen, um ein Mechanismus für den Rechtschutz des geistigen Eigentums zu schaffen. Obwohl in Litauen viele internationale, europäische und nationale Rechtsvorschriften für den Schutz des geistigen Eigentums gültig sind, muß man feststellen, daß im Gericht relativ selten solche Sachen, in denen die Personen wegen der in dem SGB Artikel 191 vorgesehenen Tat beschuldigt sind, verfahren werden. Man vermißt auch grössere Aufmerksamkeit von der Seite der akademischen Gesellschaft für diese Straftat, darum kann man behaupten, dass diese Straftaten sehr wenig in der dogmatischen als auch in der praktischen Ebene behandelt sind. Aber die in der Öffentlichkeit immer wieder erscheinenden Informationen über die Fälle der Aneignung der Urheberschaft bestätigen, dass Schutz des Urheberrechts aktuell bleibt. Solche Situation zeigt mehr auf die Latenz solcher Straftat als auf die Seltenheit, und die laufenden sozialen Prozesse lassen vermuten, dass in der nahen Zukunft Toleranz und Gleichgültigkeit der Gesellschaft Litauens wegen der Verletzung des Rechts des geistigen Eigentums sich vermindern wird und dadurch werden sich mehrere Personen wegen der Verteidigung ihrer verletzten Rechte des geistigen Eigentums zum Gericht wenden.
Das Ziehl dieser Arbeit ist Beurteilung der gesetzlichen Regelung der strafrechtlichen Verantwortlichkeit wegen der Aneignung... [der volle Text, siehe weiter]
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Staas, Gretchen L. (Gretchen Lee). "The Effects of Visits by Authors of Children's Books in Selected Elementary Schools." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331813/.
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Guest author visits are popular events in schools across the United States. Little has been written, however, on a single author doing a single presentation in a school. This study addressed that situation. The study utilized two authors visiting four schools in a large North Central Texas school district.
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Jenkins-Todd, Derone I. (Derone Ilene). "Determination of Author Characteristics and Content of Educational Computing Articles in Community/Junior College Serials Literature, 1977-1991." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278735/.
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The study was undertaken: (a) to categorize the contents of educational computing articles using a taxonomy developed by Knezek, Rachlin, and Scannell (1988), (b) to examine the trends in educational computing subject matter addressed in community/junior college journals between 1977 and 1991, and (c) to identify and analyze specific characteristics of contributing authors and their employing institutions which might explain writing and publication biases.
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DAngelo, Douglas. "Um sexto sentido maior que a razão: um olhar bakhtiniano sobre o universo feminino na obra de Rita Lee." Universidade de Taubaté, 2014. http://www.bdtd.unitau.br/tedesimplificado/tde_busca/arquivo.php?codArquivo=0.
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This paper consists in the analysis of music lyrics in a discursive gender scope, investigating the composition of women image in songs by Rita Lee. The issue behind this paper is related to the fact that some educational institutions have still priviledged the textual typology to the detriment of the teaching of discursive genre and also due to the fact that the discursive text has been taught out of context. Another aspect that also led to this research is the fact that many Brazilian Popular Music composers still depict the profile of the Brazilian woman as someone inferior, submissive, intangible or simply as an object of the mans desire. The aim of this research is to analyse, according to predetermined criteria, this peculiar aspect in the composers work within her particular feminine point of view, showing in which way the feminine universe is depicted in the linguistic-discursive concreteness of her songs. Seven of the artists songs have been analysed based on the following Mikhail Bakhtins followers and theoretical referentials: concrete statement, discursive genres and dialogism, intertextuality and interdiscursivity, ideology, author and authorship. The results confirm that, in the artists point of view, the feminine universe is represented by autonomous, intelligent, strong and independent women.<br>Este trabalho consiste na análise de letras de música enquanto gênero discursivo e investiga a constituição da imagem da mulher nas canções de Rita Lee. O problema que motivou esta dissertação está relacionado ao fato de algumas instituições de ensino ainda privilegiarem a tipologia textual em detrimento do ensino dos gêneros discursivos e também ao fato de se ensinar o texto descritivo isolado de um contexto. Outro aspecto que também motivou esta pesquisa é o fato de muitos compositores da Música Popular Brasileira ainda abordarem o perfil da mulher como um ser inferior, submisso, inatingível ou simplesmente como um objeto de desejo do homem. O objetivo deste trabalho é analisar, de acordo com critérios preestabelecidos, esse aspecto peculiar na obra da compositora sob seu ponto de vista feminino, apresentando o modo pelo qual o universo da mulher é retratado na materialidade linguístico-discursiva de suas canções. Foram analisadas sete canções da autora com base nos seguintes referenciais teóricos de Michail Bakhtin e de seu Círculo: enunciado concreto, gêneros discursivos e dialogismo, intertextualidade e interdiscursividade, ideologia e autor e autoria. Os resultados confirmam que, na visão da autora, o universo feminino é representado por mulheres autônomas, inteligentes, fortes e independentes.
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Wander, Kristine Claire. "Multi-Authorial Design for an Assisted Living Center." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148260878.
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Barros, Maria Rita. "A construção da autoria compartilhada no universo da fanfiction." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14614.
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Previous issue date: 2009-10-22<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This essay focuses on the production written by fans that use digital technology to
upload their work, known in cyberspace as fanfics. These fans are anonymous
people who submit their texts, their fanfics, to the screening of proofreaders and
readers who united by the same literary taste and/or by the desire to improve their
writing style feedback on, and take part in, each others´ work. A look at different
cyber environments, particularly blogs and websites, reveals that fanfics have
become a new type of textual creation. Our aim is to describe the universe within
which fanfics, or fanfictions, exist so as to show how their shared authorship is built.
Unlike school students, fanfic writers place themselves as the subject of their text,
assume their authorship when they position themselves vis-a-vis a text, and, by
making use of different genres, do not let the dialogue end. In order to penetrate the
nature of such fans, who become authors themselves, or co-authors of an original
work, we fall back on the observations made by theorists of Social Discourse
Analysis. Our conclusion is that in cyberspace there is a new space for textual
production, wherein it is possible to dialogue, (re) create, and for fanfics to present a
smooth conception of authorship since they spring from an existing idea already
accepted in the publishing universe and even by other media types. The fanfic writer
places himself as a co-author of an original published work by getting hold of an idea
that already exists, of a style, and starts a new game. Drawn by the voice of the
original author, he seeks to emulate the same features, the same style, so as to find
new players/readers who wish to share and discuss with him his authorship<br>Esta dissertação trata da produção escrita elaborada por fãs que usam a tecnologia
digital para postarem seus textos, conhecidos no ciberespaço como fanfics. Esses
fãs são pessoas anônimas que submetem seus textos, suas fanfics à apreciação de
corretores e leitores que, unidos por um mesmo gosto literário e/ou por uma vontade
de aprimorar o seu estilo na escrita, fazem comentários e participam da produção
uns dos outros. Ao transitar por diferentes espaços virtuais, em especial blogs e
websites, observamos que as fanfics se apresentam como uma nova forma de
criação textual. O nosso objetivo, portanto, é descrever o universo em que
encontramos as fanfics ou fanfictions, para apresentar como se constrói a sua
autoria compartilhada. Diferentemente da atitude dos alunos que produzem textos
na escola, o escritor de fanfics coloca-se como sujeito do seu próprio texto, assume
a sua autoria quando se posiciona a respeito de uma obra e, ao fazer uso de
diferentes gêneros, não deixa o diálogo acabar. Em busca de uma caracterização
desse fã que se torna autor ou coautor de uma obra original- recorremos às
reflexões desenvolvidas pelos teóricos da Análise Social do Discurso. Concluímos
que, no ciberespaço, temos um novo espaço de construção textual, em que é
possível dialogar, (re) criar e as fanfics apresentam uma concepção fluida de autoria,
pois surgem a partir de uma ideia que já existe, já foi aceita pelo mercado editorial e
até por outras mídias o escritor de fanfic se posiciona como um coautor de uma obra
original impressa ao se apropriar de uma ideia já existente, de um estilo e inicia um
novo jogo. Seduzido pela voz do autor primeiro, ele busca assumir o traço, o estilo,
visando encontrar novos jogadores-leitores que queiram compartilhar, discutir com
ele e a sua autoria
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Silva, Elias Coelho da. "Autoria na pregação religiosa neopentecostal." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8556.
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Previous issue date: 2016-03-23<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Language is a dialogical activity in its constitution, and this is the most important Bakhtin’s concept. When using the language, one dives into a universal symposium where his or her voice always meet the voice of the other, and together, they create the speech. For this reason, in the discursive role, we never find a single voice, but a diversity of people's voices. We need to interact with all these voices and we creat our own among these voices. However, according to Bakhtin, in some areas of human activity the dialogue with the other’s word is restricted, and this is the case of religious speech, where the word has a special weight and does not allow it to be used in vain, it is compact and inert, and one should accept it or reject it. So, how can we authoring our voice in the middle of words that require passivity and obedience? Based on Bakhtin's conception, we tried to investigate the speech’s authorship in religious preaching. Our aim in this research is to understand how the process of speech’s authorship is constituted in neo-Pentecostal preaching. For this reason, we also aim to identify, describe and explain how function the different voices inside the speech of the author-preacher. It develops, depending on the object of study, a qualitative research responsive character, through a documentary research. Our research corpus consists of five speeches of preaching, and one of these sample is analyzed. To perform the analysis, transcripts were made from what was said in the worship speeches, than after , different voices found in it were selected. We are based on theoretical and methodological Bakhtin studies of language, from where we take the analytical categories that constitute what we call ‘authorship’s architeture’ and we are also based on the ways of transmission of another's speech. The results show us that authoring into this specific genre of speech means to accept an axiological position that reflects and refracts values through a complex process of selection, organization and distribution of other's voices. This process is marked more for the appropriation and simulation of other’s voice than through the passive obedience to religious authoritarian word.<br>A linguagem é uma atividade constitutivamente dialógica, este é o grande preceito bakhtiniano. Ao utilizá-la o homem mergulha num simpósio universal onde sua voz encontra sempre a voz do outro e juntas constroem o discurso. Por esse motivo, no fio do jogo discursivo nunca encontramos uma única voz, mas uma heterogeneidade de vozes alheias, com as quais o sujeito necessita interagir e em meio as quais se constitui autor de seu dizer. No entanto, para Bakhtin, em alguns campos de atividade humana o diálogo com a palavra do outro é restringido, é o caso do discurso religioso, onde a palavra tem um peso especial e não admite que seja utilizada em vão, ela é compacta e inerte, deve-se aceitá-la ou rejeitá-la. Então, como autorar em meio a palavras que requerem passividade e obediência? Com base na concepção bakhtiniana, buscamos investigar a autoria na pregação religiosa. Nosso objetivo nessa pesquisa é compreender como se dá o processo de constituição da autoria na pregação religiosa neopentecostal. Por esse motivo, objetivamos de forma específica identificar, descrever e explicar o funcionamento das diferentes vozes presentes no enunciado do autor-pregador. Desenvolve-se, em função do objeto de estudo, uma pesquisa qualitativa de caráter responsivo, através de uma pesquisa documental. Nosso corpus é composto por cinco pregações, sendo uma delas a amostra analisada. Para realização da análise, foram feitas transcrições dos enunciados proferidos em cultos e selecionadas as diferentes vozes neles encontradas. Apoiamo-nos teórica e metodologicamente nos Estudos bakhtinianos da linguagem, nos quais buscamos as categorias analíticas que constituem o que chamamos de arquitetônica da autoria e nas formas de transmissão do discurso de outrem. Os resultados obtidos mostram que autorar nesse gênero do discurso é assumir uma posição axiológica que reflete e refrata valores por meio de um complexo processo de seleção, organização e distribuição da voz alheia, constituindo-se mais pela apropriação e simulação da voz de outrem que pela obediência passiva à palavra autoritária religiosa.
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Palko, Amy Joyce. "Charting habitus : Stephen King, the author protagonist and the field of literary production." Thesis, University of Stirling, 2009. http://hdl.handle.net/1893/1263.
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While most research in King studies focuses on Stephen King’s contribution to the horror genre, this thesis approaches King as a participant in American popular culture, specifically exploring the role the author-protagonist plays in his writing about writing. I have chosen Bourdieu’s theoretical construct of habitus through which to focus my analysis into not only King’s narratives, but also into his non-fiction and paratextual material: forewords, introductions, afterwords, interviews, reviews, articles, editorials and unpublished archival documents. This has facilitated my investigation into the literary field that King participates within, and represents in his fiction, in order to provide insight into his perception of the high/low cultural divide, the autonomous and heteronomous principles of production and the ways in which position-taking within that field might be effected. This approach has resulted in a study that combines the methods of literary analysis and book history; it investigates both the literary construct and the tangible page. King’s part autobiography, part how-to guide, On Writing (2000), illustrates the rewards such an approach yields, by indicating four main ways in which his perception of, and participation in, the literary field manifests: the art/money dialectic, the dangers inherent in producing genre fiction, the representation of art produced according to the heteronomous principle and the relationship between popular culture and the Academy. The texts which form the focus of the case studies in this thesis, The Shining, Misery, The Dark Half, Bag of Bones and Lisey’s Story demonstrate that there exists a dramatisation of King’s habitus at the level of the narrative which is centred on the figure of the author-protagonist. I argue that the actions of the characters Jack Torrance, Paul Sheldon, Thad Beaumont, Mike Noonan and Scott Landon, and the situations they find themselves in, offer an expression of King’s perception of the literary field, an expression which benefits from being situated within the context of his paratextually articulated pronouncements of authorship, publication and cultural production.
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Silva, Ivanderson Pereira da. "Autoria na internet e suas possibilidades didáticas." Universidade Federal de Alagoas, 2010. http://repositorio.ufal.br/handle/riufal/360.
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Fundação de Amparo a Pesquisa do Estado de Alagoas<br>Este estudo investiga a autoria na internet e suas possibilidades didáticas utilizando as TIC. A questão que norteou a investigação foi: Quais as potencialidades da Pedagogia da Autoria nas Interfaces da Internet enquanto metodologia de ensino? Teve por objetivos investigar estratégias didáticas de formação com autoria por meio das interfaces da internet; propor bases metodológicas de uma pedagogia da autoria; apontar possibilidades didáticas de formação do aluno autor nas interfaces da internet; desenvolver e implementar experiências de formação com autoria a partir da produção e publicação de conteúdos em diferentes formatos midiáticos junto à alunos em diferentes níveis de formação; evidenciar as potencialidades do processo de formação com autoria bem como os limites e as possibilidades da pedagogia da autoria e das interfaces da internet analisadas. Para dar conta destes objetivos, foram percorridas cinco etapas metodológicas: exploração do fenômeno da pedagogia da reprodução e suas consequências; proposição das bases metodológicas de uma pedagogia da autoria para a prática pedagógica; exploração e análise de diversas interfaces da internet que favorecem o processo de formação com autoria; estudo e análise de quatro experiências didáticas que tomam por base a pedagogia da autoria nas interfaces: Google Docs, Web Rádio, Youtube e Blog. Trata-se de uma pesquisa de campo, de natureza qualitativa que utilizou para a análise o método do estudo de casos múltiplos. A coleta de dados se deu com quatro grupos a partir de entrevistas coletivas junto a alunos do Ensino Médio, alunos de um curso de pós-graduação Latu-Sensu, alunos concluintes de um curso de formação inicial de professores em nível de graduação na modalidade a distância; e alunos iniciantes de um curso noturno de formação inicial de professores. Como resultados constatou-se que a pedagogia da autoria enquanto prática pedagógica, favorece o domínio das TIC, a curiosidade, a criatividade, a autoavaliação, a reflexão e a autoria.
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Looft, Helena. ""Vi är trollkarlar" : den konstnärliga kampen i Samuel Becketts I väntan på Godot." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-126649.
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When the Irish writer Samuel Beckett (1906-1989) wrote Waiting for Godot in 1948-1949 he was in a state of artistic depression and confusion. He had already turned to French instead of English and with a manuscript for the stage he made an effort to get away from what he called ”the awful prose” he was working on at that time. Waiting for Godot had its first opening night in Paris in 1953, and during the years since then many different interpretations have been made of this challenging work of art. In this essay, with the meta textual elements in Waiting for Godot as a foundation, I’m reading the drama as a writer’s struggle with his material – not strictly biographical, but with Beckett as an artistic example. Vladimir and Estragon, as well as Pozzo and Lucky, then become personalizations of the voices in the mind of the author, where intellect/reason/analysis on one hand and intuition/feeling/fantasy on the other are working side by side, or as a pair of opposites, to try to get along through conflict and cooperation; conferring, clashing, and complementing one another. Godot will then function as the mystical and driving force, the necessary lack of purpose or fundamental meaning that keeps the artist in touch with art. In this aspect Godot has not to come; his absence is an absolute condition to get the play going, to keep the writer writing, to make all artists continue their lonely, tiresome, difficult work. Waiting for Godot tells us something about the struggle every writer has to face when writing a play, or a novel, or a poem, where he, or she, has to speak with and listen to the inner voices of intuition and intellect and try to get by in spite of the overall sense of hopelessness of it all. Art is at the same time without meaning and of infinite value and I believe that this paradox is alive and working in Waiting for Godot.
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So, Augustine, and 蘇曉衡. "Auteur in 3 minutes: authorship in music video." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B4684885X.
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Graça, Orlanda Gisela. "La déconstruction du droit d'auteur sous prétexte de technologie numérique." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT3009.
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L'avènement des technologies numériques, notamment des réseaux numériques, a servi de prétexte pour introduire dans le droit d'auteur des réformes qui mènent à une mutation profonde de ce droit. Un précédent a été créé par l'inclusion des logiciels et des bases de données électroniques dans son champ de protection ; ce sont de créations strictement fonctionnelles, qui ne devraient pas appartenir à la catégorie « oeuvre de l'esprit ». Cela ne pouvait qu'engendrer une distorsion du critère de l'originalité. En outre, la nature de ces objets imposera d'adapter le régime juridique ainsi que les règles de titularité. Naquit ainsi, au sein du droit d'auteur classique, un paradigme spécial que tout rapproche du copyright américain. Centré sur l'investisseur et sur la notion de fixation, il est désormais en train de contaminer le droit d'auteur. Au demeurant, on ne peut négliger l'influence capitale du copyright américain dans tout ce processus de construction et d'extension puisque certains de ses concepts et principes se retrouvent aujourd'hui dans le droit d'auteur. On assiste à un véritable mouvement de déconstruction du droit d'auteur personnaliste hérité de la Révolution française et dont l'apogée fut la loi du 11 mars 1957. Nous mettrons en évidence les divers facteurs qui ont agi et qui agissent conjointement aux niveaux national, communautaire et international, tout en démontrant que si l'environnement numérique pose certes des difficultés pour l'exploitation des oeuvres de l'esprit, le droit d'auteur, centré sur l'auteur et fondé sur la notion de communication au public, était bel et bien capable d'y faire face sans avoir besoin d'ébranler ses assises<br>The advent of digital technologies, including digital networks, served as a pretext to introduce author's right reforms that lead to a profound change in this right. A precedent was set with the inclusion of software and electronic databases in the field of protection as these are strictly functional creations that should not belong to the category of "oeuvre de l'esprit". This inclusion leads to a distortion of the criteria of originality as well as the need to change both the rules of ownership and the legal regime of author's rights. Consequently a special paradigm, similar to U.S. copyright, is born inside the classical author's right system. Focused on the investor and in the notion of fixation, this special right of sotware and database now contaminates the author's right system. We cannot ignore the important influence of American concept of copyright in the whole process of construction and expansion of this special paradigm as some of its concepts and principles are reflected in today's notion of author's rights. We are witnessing a movement of deconstruction of the author's rights personalist legacy of the French Revolution which culminated in the Act of 11 March 1957. We will highlight the various factors that have acted and act jointly at national, EU and international level to produce this result, while demonstrating that while the digital environment certainly poses difficulties for the use of works of authorship, the author's right, author-centered and based on the notion of communication to the public, would indeed be able to cope with digital environment without the need to undermine its foundations
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Adams, Amanda. "In person : authorship, performance and the nineteenth-century transatlantic lecture tour /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404352431&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 189-198). Also available for download via the World Wide Web; free to University of Oregon users.
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Daly-Galeano, Heather Marlowe. "Little Women, Mutable Authors: Louisa May Alcott and the Question of Authorship." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/223371.
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This project analyzes the ways that Louis May Alcott portrays authors in several texts, including Hospital Sketches (1863), "Enigmas" (1864), "Psyche's Art" (1868), Little Women (1868), A Modern Mephistopheles (1877), and Diana and Persis (1878). An examination of prevailing contemporary theories of authorship reveals that Alcott's interest in authorship (as shown through her experiences as a writer and the author figures she depicts within her writing) cannot be adequately analyzed under any of the existing theoretical frameworks because the theories neglect to consider markers of racial, sexual, cultural, and class-based difference. Being a female author in nineteenth-century America was, for Alcott, a preoccupation. Thus much of her writing features representations of authors. For Alcott, as well as many of her female contemporaries, the question "What does it mean to be an author?" cannot be considered without also asking, "What does it mean to be a woman?" and "How can an author be represented in a text?" Alcott's treatment of these questions in her writing was her attempt to create a dialogue between herself, other writers, and her reading public. By studying Alcott's author figures, I advance a model of authorship that highlights issues of gender and multiplicity; in this way my work has applications to other authors who have been excluded by normative definitions of authorship. The concept of "mutable authorship," a model that more accurately incorporates Alcott's treatment of authorship, is the product of several different literary, historical, and feminist theoretical lenses. This dissertation works through the different structuring figures that Alcott uses to represent the author, beginning with the semi-autobiographical first-person narrator and moving to the more metaphorical figures of the artist and the performer. The discussion culminates with the exploration of adaptation and collaboration in the three Hollywood feature films of Alcott's best-known work, Little Women, and several recent texts that respond directly to Alcott's work.
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Schweizer, Florian. "The dignity of literature : authors and authorship in the early Victorian period." Thesis, Birkbeck (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497987.
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Carey, Craig Basil. "Inventing authors: marks, media, and materiality in the age of Edison." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/6384.
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Inventing Authors draws on a diverse strand of methodologies from literary, book, and media studies to rethink the practice of authorship in the context of media history, specifically during the founding age of technological invention in the United States between 1870 and 1920. The Age of Edison witnessed an unprecedented explosion of new media that threw into relief traditional ideas about writing, literature, and authorship. By moving beyond economic narratives of authorial history, Inventing Authors radically disperses the practice and profession of authorship across the cultural techniques that mark it up.
To rethink authorship in the midst of nineteenth-century media history, this project surrenders abstract concepts like "representation," "literature," and "culture" for the materialist rigor of what contemporary German media theorists call "cultural techniques" (Kulturtechnik), a term that combines an attention to media technologies with a focus on elementary techniques, skills, and practices, especially reading, writing, and counting. Drawing on material histories of inscription by Friedrich Kittler, James Beniger, and Lisa Gitelman, it engages authors not as artists, workers, or professionals in the market - the usual approach for studies of this period - but rather in mutually constitutive relationships with the skills, objects, and techniques that shaped the conditions of their possibility.
Like Edison at Menlo Park, authors in the second half of the nineteenth century inaugurate a future in which technical expertise and ingenuity, not originality and inspiration, control the field of representation. Each chapter excavates the technical training of an author to demonstrate how authors capitalize on available materials to engineer new methods for inventing and marking up reality. My introduction and chapters are focalized around four authors - Mark Twain, Ambrose Bierce, Charlotte Perkins Gilman, and Theodore Dreiser - and the cultural techniques that shaped their methods, writing practices, and literature. In this period of American history, authors began to register how their literary inventions were not merely disembodied experiments in style, but rather technical operations that processed language through different markup strategies. They were not just artists making art; they were editors and engineers processing bits of culture in ways correlate with the cultural techniques trained into them.
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Hryhorenko, Lesia. "Analysis of In-Situ Authorship: A Study On The Representation Of Commonly Marginalized Authors." Otterbein University Distinction Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=otbndist1620462738167087.
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