Academic literature on the topic 'Authorship – political aspects'

Comparative studies of journalism have gained considerable currency in recent years, and are often considered to be at the cutting edge of journalism studies. Yet, there has been relatively little systematic examination of the growth of comparative journalism studies or in-depth analysis of the power relations within the field in relation to, for example, trends in authorship or dominant methodologies and paradigms. This article reports the results of a systematic review of comparative studies of journalism published between 2000 and 2015, a key growth period for the field. By examining in detail a population of 441 articles published in 22 key journals, we demonstrate that comparative journalism studies is a dynamic field that has developed considerable structure over time, and outline some key patterns, such as a continuing focus on Western authorship, the study of Western countries and elite media, quantitative methods of analysis and political aspects of journalism.

Abstract Persian literature is replete with pseudo-translations to the extent that if one tried to compile a complete bibliography, it would turn into an unwieldy book. Most Persian pseudo-translations belong to Iranian political literature (Okhovat, 2006). As could be guessed, identifying pseudo-translations is not a simple task as their authors want readers to believe in the ‘translationness’ of these works for various reasons. One of the most famous Iranian pieces of pseudo-translations, whose original writer has recently claimed its authorship, is the famous (in Iran) Letter of Charlie Chaplin to his daughter Geraldine. The present article examines diverse aspects of this text, including its political, historical, cultural, and literary milieu of production, and provides a critical discourse analysis of this text and highlights the original author’s ideological stance as it is embedded in this purported foreign letter. The article concludes by surmising the reasons why this famous work was published as a translation, and how it is, that the original writer has claimed authorship after more than 30 years.

AbstractThis essay is an attempt to link aspects of Kierkegaard’s experimental writings with new contemporary ecological perspectives which—in the act of interpenetration—are fusing philosophy, science, literature, anthropology, political thought, new economic perspectives, and visual and sound media, in order to open up new ways to live and flourish on a damaged planet—in our “age of disintegration.” I present Kierkegaard’s diagnosis of his time as “the age of disintegration” (from 1848) as something that can be connected to the contemporary socio-political conditions in late modernity, and to the new epoch on the horizon which we are now experiencing. I interpret Kierkegaard’s expression “out into the middle of life” as the kernel of Kierkegaard’s authorship of interruption and unsettling. I argue it can be implicitly included in aspects of ecological perspectives offered by innovative writers today.

Retaining its unifying function in creating academic texts, academic writing is undergoing various changes brought about by digitisation. The key trends are related to three aspects of academic writing: formal bibliometrics, principles of collaboration, and interaction with the readers. The first trend concerns the growing importance of identifiers, citation standards, key words and other metadata that underlie the creation of data bases allowing universities and scientific centres to take administrative and organizational decisions. Secondly, information technologies for collaborative writing stimulate the shift from individual authorship to the collective one and from thematic collaboration to the functional distribution of authorship. Finally, academic writing has adopted marketing strategies and instruments in communicating scientific knowledge to the audience. Digitisation has caused the emergence of postproduction in academic writing, i.e. applying Internet resources to enhance the reach of one’s academic papers. These trends require a revision of the approach to teaching academic writing and a more profound study of the new phenomena conditioned by the digital era.

Objective: The objective of the study is to explore the frequency of mal-practicing in terms of giving and accepting honorary authorships among dentists in private dental colleges of Lahore Method: This descriptive crossectional study was conducted to collect data from dentists working in private dental colleges of Lahore regarding plagiarism practices. Three private dental colleges were targeted from where data of 95 dentists was obtained. Data was collected using questionnaire to assess the questionable research practices. Results: Refusal on data sharing with legitimate colleagues was never practiced by majority of participants (46.1%). Addition of author(s) to a research paper who have not contributed in study was sometimes practiced by majority of participants (27.9%). Majority of participants reported that they occasionally accept honorary authorship for which you did not qualify (26.26%). Majority of participants reported that they never demanded any honorary authorship (48.41%). Refusal to give authorship to the person who had worked in the study was never practiced by majority of participants (62.11%). Majority of participants reported that they never submission without taking consent from other authors of a manuscript or grant application (65.26%). Majority of the participants reported that they never do a submission of single manuscript to more than one journals at one time (56.84%). Conclusion: Among dentist, mal-practicing in terms of collaboration and authorship is quite low as compared to in other health professional education as per literature. Keywords: Dental education, Ethical policies, Honorary authorships

The article both presents how, from the end of the 1980s onwards, native peoples have begun to occupy certain spaces of textual production and circulation that they had not previously occupied in the Brazilian cultural scene (for social, linguistic, and cultural reasons, but also political and juridical) and discusses how this process has provoked a vigorous movement of dilation of traditional textual and discursive borders in Western culture. Texts deriving from indigenous peoples in the sphere of academic discourse are, in general, bilingual, and are structured in ways that combine aspects of intellectual production with those of artistic creation. Moreover, they are also structured around a rather complex conception of the notion of authorship (considering that they are written by an author but represent the voice of their people). As examples, the article analyzes the case of Os cantos tradicionais Ye’kwana [Traditional Ye’kwana Chants], by the indigenous teacher and researcher Fernando Ye’kwana Gimenes, winner of the 2020/2021 edition of the Dirce Cortes Riedel Masters Dissertation Award by the Brazilian Association of Comparative Literature, as a typical example of the cultural phenomenon discussed. The traditional Ye’kwana chants present significant transgressions in relation to the traditional notions of narrative logic and the dominant forms of narration in the fields of literature and history. The awarding of this academic prize to an indigenous inhabitant of the forest, on the border between Brazil and Venezuela, by the largest association of comparative literature in Latin America, in addition to being an important act in political terms, demonstrates how urgent it is to rethink processes of global literary dissemination beyond the restricted frameworks configured by the logic of hegemonic cultures, which are based on closed divisions and hierarchies. With this, we intend to contribute to the process of including Amerindian texts in the repertoire of Comparative Literature and World Literature.

To provide a factual foundation for understanding of the trajectory of the development in British sociology a content analysis of the journal articles in the main generalist British sociology journals is provided. This contributes both an overall picture, and allows an account of contrasts between the journals. Attention is focused on the extent to which the content differs between British and other authors (and more detailed geographical breakdowns and other aspects of authorship) and how content has changed over time. Finally, how the research outcomes are related to some of the characteristics of producers and producing departments are assayed.

Literary historians such as Tony Tanner have speculated that adultery, with its assault upon the patriarchal institution of marriage and its potential for family drama, is the principal theme of the bourgeois novel that evolves in Europe during the nineteenth century. Joyce's famous work was heir to the great nineteenth-century novel of adultery – a tradition which includes the likes of Tolstoy's Anna Karenina (1873–77), Flaubert's Madame Bovary (1857), and Zola's Thérèse Raquin (1867). An act of marital betrayal lies at the heart of the story, an act which Joyce explores in all its emotional and moral complexity. Other critics (such as David Lloyd) have argued that his condition as an Irish writer obliged Joyce to develop an ‘adulterated’ form of writing – one which refused the precepts of patriarchal authorship, and in so doing contributed significantly to the emergence of the cultural sensibility known as Modernism. This article addresses Joyce's imagination of personal and political betrayal as explored in both the thematic and formal aspects of Ulysses.

The study highlights the Authorship pattern and collaborative measures of the 1692 Scholarly publications published in the Web of Science database for 21 years from 1989 to 2020. The study reveals the various significant aspects like the Collaborative index, collaborative coefficients, the correlation between authors and articles, and the degree of collaboration. There is a highly significant correlation found between articles and the authors. The highest collaborative index (3.32) and collaborative coefficient (0.64) were recorded in the year 2000. 1644 publications were co-authorship index while 48 publications single author index out of 1692 publications.

This article critically situates My Little Pony: Friendship Is Magic (2010‐19) and the ‘brony’ following it has attracted in terms of age and fandom, discourses of quality television, cult media and interactions between fandoms and cultural producers. Far from unprecedented, the show’s unexpected male audience reflects adults’ historic appreciation of media for children, the increased mainstreaming of animation, and the already infantilized persona of media fans. Aspects of the reimagined series reproduce characteristics of ‘quality television’ concerning characterization, genre, authorship and political intentionality. Simultaneously the show corresponds with overlapping aspects of cult television and cult cinema, crucially affording both cultural and subcultural value. Finally, examples of the series deliberately courting adult fan audiences are presented as reflecting reciprocal relationships between show producers and its mature viewers. The brony following consequently reflects changes in contemporary fandom dynamics, and the increasing mobility of twenty-first-century television viewing.

The political implications of the OE prose translations of King Alfred (849-899) are overlooked by scholars who focus on the literary merits of the texts. When viewed as propaganda, Alfred's writings show a careful reshaping of their Latin sources that reaffirms Alfred's claim to power. The preface to Pastoral Care, long understood to be the inauguration of Alfred's literary reforms, is invested with highly charged language and a dramatic reinvention of English history, which both reestablishes the social hierarchy with the king more firmly in place at its head and constructs the inevitability of what is actually a quite radical translation project. The translations themselves reshape their readers' understanding of kingship, even while creating implicit comparison between Alfred and the Latin authors.

A further aspect of Eliza Orme’s public life in the 1870s, 1880s, and 1890s was her eloquent, engaged, authorship—some of it signed but much of it published anonymously. This chapter situates her as a journalist and editor as well as a lawyer and politician. In more or less chronological order, sections include: ‘Contributions to The Examiner, Englishwoman’s Review and Longman’s (and an index)’ (these comprised her important essays ‘Sound-Minded Women’ and ‘How Poor Ladies Live’ as well as a work of legal scholarship that took the form of indexing Savill Vaizey’s book on marriage settlements); ‘Leaders for the Weekly Dispatch’ (an important aspect of Orme’s life that puts her among a handful of powerful women journalists, but still awaits further research); The Women’s Gazette and the Royal Commission (whatever the political or official purposes of these activities, the editing of the Women’s Gazette was journalism and the several reports of the Royal Commission report constituted authorship); ‘A Trial in India, a literary labour of love, and more’ (Orme’s editing of The Trial of Shama Charan Pal and her biography, Lady Fry of Darlington); ‘National Biography’ (Orme’s three contributions to the 1901 supplementary volume of the Dictionary of National Biography). This chapter is shaped significantly by Leslie Howsam’s research interests in the history of the book, and of the periodical press, in nineteenth-century Britain.

This chapter considers how one may use Genette's concepts of paratext and hypertext within transmedia narratives and born-digital texts and explores how Web publication problematizes standard ideas of authorship and copyright. This challenges our concepts of originality and our understanding of what constitutes the text and what stands outside it. This chapter explores Nick Montfort's “Taroko Gorge,” a born-digital poem, and Jasper Fforde's “The Eyre Affair,” analyzed as a transmedia narrative, within the framework of Genette's theories of “paratext” and “hypertext.” This chapter highlights the difficulty of reconciling the intellectual and political necessity of a world in which data is freely shared with the practical concern of how the producers of creative work can make a living.

Abstract The next two chapters explore features of the prose fictions Barker published in the literary market-place between 1713 and 1725. The emphasis of the present chapter upon their religio-political aspects departs sharply from existing approaches, which tend to concentrate upon gender-and-genres themes in relation to feminist paradigms of female authorship or to pursue the meanings of Barker’s autobiographical self-inscriptions.

This chapter examines Pedro Costa’s evolving authorial process, centring its attention on 2014 feature film Horse Money. This chapter considers the different levels of intertextuality animating Costa’s cinema, particularly with regards to the inclusion of different documents and the reworking of personal stories lived by some of his non-professional collaborators. As regards this latter aspect, the chapter sheds light on the ambiguous nature of authorship, understanding it as a creation process that is as much dependent on individual authority as it is indebted to collaborative practices. Both textually and contextually, Horse Money is the result of creative relationships with non-professional actors Ventura and Vitalina Varela. The intertextual and collaborative practices informing Horse Money, moreover, come to reflect possible political aspects transmitted by Costa’s filmic universe. Returning to the discussions initially opened in Chapter 2, this final chapter concludes by looking at some of the critical debates around Horse Money, which are particularly animated by possible political readings transmitted by Costa’s films.

This article brings together historical and political research in order to give an account of Iraq's recurring authoritarianism. Focusing on the agency of three distinct state elites, it will compare how these networks used cooptation and coercion to dominate their respective political arena. As a part of this, structural aspects like the allurement of the centralized state economic and the aspect of Western assistance in the (re)building of a central authority will join the analysis. However, the article will be primarily concerned with Iraqi politicians, their authorship of authoritarianism, their efforts to build a “modern” nation and their attempts to overrule dissent. The main interest of this inquiry is for the present and recent past: As Iraq has shaken off the oppression of 35 years of dictatorship, the new democratic system has shown to be extremely susceptible for a renewal of the authoritarian tradition.

The essays in this book take up various related aspects of Guillaume de Machaut’s legacy, especially as established by his judgment series. The salient features of that legacy include the focus on fame and authorial reputation; and, within this context, there is both the intra- and extratextual self to be contemplated, along with the emergence of an I possessing ontological fullness. The Machaldian poem manifests a shifted cultural understanding that comprehended a poetic machinery, one in which the poet (the real Guillaume) and the poet’s I (his intratextual confection) together modulate the flow of literary, social, and even political power, within the text and sometimes beyond it. The flow is most often realized through the institution of patronage. The dramatizations of the patronage system become integral within a conceptualization of authorship that is nearly modern, not so readily recognizable as medieval. In the work of Machaut and his heirs we find the problematizing of authority, the theatrics of the very notion of judgment, the late medieval dit’s capacity to leave judgment to its reader, as well as the thought-provoking ambivalence of an un-concluded jeu-parti.

Abstract In the early 1820s the financial speculator and social theorist Henri de Saint-Simon attracted a group of talented young followers, among them Auguste Comte, by virtue of his personality and his docttines. In his final years Saint-Simon preached a “nouveau Christianisme,” a religion with a stern morality but no deity. After his death in 1825, his successors, pre sided over by a Pere Supreme, governed the disciples, proclaiming a vaguely socialistic ethic that aimed at raising the condition of the proletariat, and, preaching free love, at liberating women from marital servitude. By the time the French government brought their leaders to trial in the early 1830s, for attacks on the family and property, many writers and intellectuals in Europe had come to sympathize with parts of Saint-Simon’s doctrine: among these writers were George Sand, Heinrich Heine, J. S. Mill, and Thomas Carlyle.1 In the 1840s both Mill and G. H. Lewes became admirers of Saint-Simon’s former secretary Auguste Comte, who claimed authorship of the more “scientific” aspects of Saint-Simonian belief.

This chapter examines competing theories for revenge’s appeal in a wide range of plays from 1580-1699. Focusing on the ways that early modern revengers reference and revise earlier classical texts and figures, it examines revenge as a textual practice and affective performance and considers whether classical murderous mothers, such as Medea, embody ancient human anxieties about the uncanny feminine power of revenge to undo human subjects and societies. Exploring the way in which early modern writers take up and rewrite classical texts, it demonstrates how female revengers subvert traditional female roles, exploiting the metatheatrical aspect of revenge as a powerful tool of self-authorship. The chapter also examines different theories as to the genre’s popularity. Using Early English Books Online (EBBO), it surveys the frequency of the words ‘revenge’, ‘avenge’, and ‘vengeance’ (and their derivatives) in order to test whether it was a genre that: peaked in the Elizabethan period and was followed by a period of decline, emerged particularly in periods of political crisis, or has an enduring appeal.

This chapter describes the ambivalent use of informer-figures found in the metadrama of The Tempest and A Midsummer Night’s Dream, and argues that the magical setting of these plays may facilitate a more revealing picture of authorities’ reliance on these than Jonsonian realism, or tragic form, might allow. Exceptionally, a discourse of ‘illusion and reality’ is useful in interpreting the metadrama of these plays, since in both cases it is authority which is displaced into the licentious landscapes of magic and fantasy. MND argues for an ideal of dramatic authorial power in a world where a relatively beneficent authority, free of hierarchical dysfunction, oversees agents acting in playful mischief rather than insidious paid malignity. The Tempest’s dramatic and magical setting, meanwhile, demonstrates a greater concern to control representation. In this case the interplay of metadramatic levels of ‘reality’ mirrors early modern conditions of production for the teller of tales, in which authority requires both authorship skills and those of unseen observation. The fact that the dominant imagery of authority and informing persists in these texts despite the fantastic content may suggest an inherently political aspect to metadramatic form itself.

The author explains the purport of the article. He intends to emulate the style of Descartes to the extent possible in the contemporary setup. In his 10 meditations the author attempts to grasp vital capacities of Descartes’ method and to that effect to better understand his intellectual achievements and their current relevance. Cartesian moment or creative impact of Descartes upon dynamics of intellectual advancement is a key moment (point in time) that separates old scholastic ways of reasoning from modern ones as Martin Heidegger amply affirmed in his «The Age of the World Picture». Modern way not only relies on ratio but also on individual creative abilities and personal authorship of an investigator. Hence the author explores creative capabilities of a modern researcher typified by Descartes. The author defines Cartesian methodological practice (style, manner) as distinctly personalized and to that effect subjective or self-centered. This novel methodological artifice of Descartes is coupled with typically modern distinction between subjective (personally biased) and subjectival (pertaining to an independent agency of emancipating personality or subject). Investigating self of Descartes intentionally exploits typically modern cognitive and social property of being a free cognitive agent. It may be called cognitive agency or subjectness ( субъектность , subjectnost’ ) as a counterpart to subjectivity ( субъективность , subjectivnost’ ). Respectively Heidegger while discussing unique Cartesian achievement introduces along a casual notion of subjectivity self-coined terms of Subjektsein (subject-object relations, Subjekt-Objekt-Beziehung) and Subjektität (resolute self-awareness, unbedingtes Sichwissen). It is characteristic that Heidegger carefully discriminates spontaneous personally biased Ichheit and Egoismus from consistently individually conceived Ichhaft. The article examines two epitomes of subjectness: the initial Cartesian archetype and recent Wittgensteinian prototype. While Descartes instrumentally uses it to reshape scholastic thought into a modern metaphysics (cf. «Meditationes de Prima Philosophia» of 1641 or its authorized French translation of 1647 «Les méditations métaphysiques» ), Wittgenstein respectively elaborates his own brand of philosophy of logic (cf. « Logisch-Philosophische Abhandlung » of 1921). With Descartes his actual person is nothing but ‘being on his own’ ( ens per se ). Pragmatically this difference transmutes into operation of the actual whole self of the researcher ( me totum ) with development of polar metaphysical abstractions of non-bodily and non-extensive res cogitans and bodily and non-thinking res extensa . With Wittgenstein the equally pivotal personality of researcher reduces into an intermediator (border, Grenze ) between the world and the transcendental logic. As a result, metaphysical subject (metaphysisches Subjekt) or solipsist me (Ich des Solipsismus) shrinks into a non-extensive dot (Punkt) or eye (Auge) observing the world from outside. While new-born Cartesian cognitive agent has to split within itself into res cogitans and res extensa Descartes’ disciples and followers simply ignore bodily dimension. They radically reduce the investigating self to a detached all-powerful Reason turning subjectival Cartesianism of its founder into a non-subjectival version of Cartesianism, supposedly objective and rational. Wittgenstein helps the investigator (his personal self) come back again but at the expense of limiting himself to a border between the logic and the world able to reconstruct both the logic and the world with incessant language games. In his fifth meditation the author emulates both the style and the way of reasoning typical for Descartes. He remembers his student years in Moscow Lomonosov University. First he has mastered phonological principle of distinctive features and then successfully extended its use beyond linguistics into social studies and political science. Being taught dual - fast and slow reading he learnt to skip and then to restore details. The third personal cognitive discretion utilized in investigation of any scholarly issue is the focus on its emergence, further metamorphoses and evolution. The first two have clear Cartesian formation, while the third helps them both to gain dynamism and discretions. Next meditation deals with Descartes’ idea of the (definite article) method and specific rules for applying inherent inventiveness ( rēgulae ad directionem ingenii ). This Cartesian link implies essential affinity between universal instrumentality (organon) of scientific exploration and fundamental (primeval and primitive) cognitive abilities of humans and other species. Such a polarized dual distinction has helped the Center of advanced methodologies to identify three complex transdisciplinary organons (metretics, morphetics and semiotics) rooted in the elementary cognitive abilities to tell intensity of sensations, to recognize patterns and to grasp functional relevance, potentially meaning. Simplex-complex transformations devised by the Center are instrumental in linking the utmostly complex phenomena to equally simple ones through the range of intermediate manifestations and forms. The results of the analytical transformations can be revealed in the sequences of modules related to a master prototype model. The concluding two meditations deal with cognition and its modes as well as the issue of overcoming of Cartesian dualism. The author insists that cognitive scholars’ ambitions to overcome Cartesian dualism are vain. It is Descartes’ method and style - as far as we can grasp them - that can help to overcome fatal schemes ascribed into notorious mind - body problem. The core of Descartes’ thinking is the continuous preoccupation with embodiment of the rational and emotional aspects of his whole self (total me) and disembodiment of its material aspects.