Indiana University-Purdue University Indianapolis (IUPUI) / The authorship of the five additions to Thomas Kyd’s The Spanish Tragedy remains a conundrum. Ben Jonson was first thought responsible, but a majority of scholars argue against his involvement. Other candidates have been proposed, namely Thomas Dekker, Thomas Heywood, William Shakespeare, and John Webster. Past attribution studies have mainly focused on Shakespeare due to the fourth addition, the Painter’s Scene, which has been perceived to exhibit Shakespearean quality. John Nance’s lexical study of the fourth addition makes a most compelling case: Shakespeare’s hand is almost certainly present. Warren Stevenson, Hugh Craig, Brian Vickers, and Douglas Bruster have also supported an attribution to Shakespeare; however, their research errs in assuming a single author wrote all five of the additions. This assumption is disproven by Gary Taylor’s work on the first addition, which is the first to identify Heywood, not Shakespeare, as its likely author. Taylor’s conclusion emphasizes that the additions could embody revisions by more than one playwright, such as in the case of Sir Thomas More. Therefore, the authorship of the other additions must remain conjectural until further study. My thesis is the first to independently explore the third addition’s authorship, and based on lexical evidence, the following analysis disproves claims of Shakespeare’s presence within the third addition.

The study of Ephesians has been approached in multiple ways by scholars. The dominant scholarly debates on Ephesians center on the issues of authorship, to whom the letter was addressed, its comparison with Colossians, and the Jew-Gentile conflict. Scholars have discussed the theme of salvation in their textual and theological analysis and commentary. Most of these discussions do not adequately explain the meaning of salvation at the discourse level. Scholars have suggested a wide range of meanings of salvation in Ephesians: forgiveness of sins (1:7), deliverance from the grip of the evil supernatural powers that controlled them before their conversion (2:2; 6:11, 12), reconciliation between Jews and Gentiles (2:16), and reception of spiritual gifts to the service of the Church (4:7). Salvation in Ephesians is also explained as a rescue from death, sin, and disobedience; from this present world-age; from bondage to the ruler and principalities of the air; and from God’s wrath. It is being freed from the ways of the world and the ruler of the air (2:2-4); being seated with Christ in heavenly realms (2:6); being the workmanship of God; being made alive in Christ (2:5); being created in Christ Jesus (2:10). There is no consensus among scholars regarding the temporal meaning of salvation. The meaning of salvation in Ephesians must be studied in the context of the letter. There is no major study that has applied Systemic Functional Linguistic tools to the study of Ephesians. Halliday’s model of register analysis provides tools to analyze the context of situation of Ephesians, the study of field, tenor, and mode of Ephesians. These three components of register analysis, show that the linguistic choices made by Paul describe the context of situation in which the meaning of salvation is communicated. This study shows that Paul’s idea of salvation in Ephesians is one of his prominent topics. It explains that salvation is a divinely planned entity. God executes and achieves it through Jesus Christ. Salvation is the gracious gift of God. The mystery of God’s eternal plan of salvation in Jesus Christ reveals that God has incorporated the Gentiles in his plans through adoption in Jesus Christ. It emphasizes the meaning of salvation in terms of Gentiles’ deliverance from their former spiritual bondages. Paul’s Gentile readers’ former spiritual condition corresponds to the contemporary Hindu spiritual condition. They are under spiritual bondage through their magical practices and worshiping of idols. Thus a cross-cultural application to evaluate the meaning of salvation in a Hindu context is warranted. / Thesis / Candidate in Philosophy

The concept of the author has changed over time, along with the forms of media that have been used to circulate texts. In my dissertation, I examine assumptions about writers with roots on the African continent by looking at representations of their status and function as authors as they appear in fiction and in the public sphere. I explore the changes in both the academy's and the public's perceptions of literature in French, and examine how these perceptions are related to current understandings of migration, transnationalism, and "legitimate" cultural production. The generation of writers working after independence from European colonialism in the 1960s, 70s, and 80s re-appropriated language and forms, resisting political and cultural domination. Decades later, can it be said that francophone writers today are as much a part of the literary landscape in French as any other author? I study the writings and self-presentation of five prominent authors writing in French today: Calixthe Beyala (Cameroon), Fatou Diome (Senegal), Bessora (Gabon/Switzerland), Alain Mabanckou (Congo), and Léonora Miano (Cameroon). Through their public performances as well as in their published work, these five writers adapt the repertoire for the writer labeled as "African" or "immigrant" in their own ways. They may play into or play up some of these prescribed roles, but in so doing they highlight the apparatus that structures the publishing industry, including the problematic vestiges of colonialism that remain in place there. Recent theories of the posture de l'écrivain (posturing of the writer) have not yet been fully applied to writers outside the Franco-French, Parisian-centered literary field. I examine the implications of considering the performance of the authorial persona when applied to works by French-speaking authors with origins outside this hyper-centralized industry. My corpus includes their written works, their presence in both traditional and digital media, and their appearances in person at literary events. Focusing on their self-presentation in written and embodied performances enables a more complete grasp of specific ways the literary field is configured for francophone writers, and the differences that remain: in the roles imposed upon them, and in their own authorial aesthetic.

This is a work that explores linguistic style within the Greek New Testament and the extent to which its presumed causes (e.g. differences in authorship, genre, topic, subject matter, and the like) can be “disentangled.” Scarcely anyone who has perused the long history of authorship debates in the New Testament can mistake the profound implications such a “disentangling” would bring. Two motivations exist to revisit this issue: compelling recent findings in computational stylistics, and the sheer theological implications such a study may bring. Concerning the former motivation, earlier generations of scholars assigned, de facto, virtually any significant stylistic variation to authorship alone. The last thirty years of research outside NT studies, however, has demonstrated that more frequently than not, more of the total summed stylistic variation in mixed genre corpora is due to genre rather than authorship. What, indeed, would be the implications if those findings proved true of the GNT as well? First, and somewhat deconstructively, if the major proportion of stylistic variation in the GNT were found to be due to genre rather than authorship—or even close to it—any prior studies that had (1) failed to test for genre as a competing theory or (2) failed to remove genre as a covariate have almost certainly confounded genre with authorship. Second, and more constructively, if a convincing separation between what is commonly termed authorial variation and the various sources of sociolectic variation (which include component as genre/register, subject matter, audience, and the like) can be achieved, such a thing would have broad and sweeping impact upon many topoi within New Testament scholarship. Not only would it influence the obvious suspects (i.e. the authorship of the Pastoral Epistles, the extent of the Pauline Canon, pseudepigraphy, the Synoptic Problem, and the like) it would also necessarily influence the current vigorous discourse in New Testament hermeneutics itself. My approach is threefold. First, the history of computational stylistics both within and outside NT studies will be reviewed. Second, as to method, an abductive approach, one that harnesses both Systemic Functional Linguistics and a variety of univariate and multivariate methods will be adopted. Third, that method will be exercised on the text of the Greek New Testament itself. / Thesis / Doctor of Philosophy (PhD)

Hollywood film editing remains on the theoretical margins of contemporary film scholarship, and the cause of this is three-fold. First, despite advances in collaborative authorship studies, the Hollywood film director is still largely regarded as the sole creative lynchpin upon which the film’s success or failure ultimately lies. Second, Classical Hollywood film editing—commonly referred to as the continuity aesthetic—is considered successful if it remains unnoticed, if it remains invisible. Therefore, within this continuity aesthetic, the editor’s ultimate goal is to hide his or her own labor. Third, determining exactly how and where a film editor contributed to a film text during post-production is an incredibly difficult task. So, what is the solution? This dissertation explores how film archives can contribute to knowledge about the cinematic post-production process. My central research questions are: what kinds of information do film archives contain regarding the creative collaboration between the director and the editor? And, what does available archive material tell us about the changes and creative revisions in post-production? To answer these questions, I conducted original archival research on the following Hollywood Renaissance films: Bonnie and Clyde (1967), The Conversation (1974), Annie Hall (1977), and Raging Bull (1980). These films reflect a highly creative era in the Hollywood industry and are well-known for the collaborative relationship between the directors and the editors. To determine how and where collaborative authorship occurred in these films, I compared archival documents such as the storyboards and shooting scripts to the final film texts. These documents contain explicit instructions about how the scenes should be lit, decorated, and shot and how the film itself should be edited together. Therefore, I argue that any editing discrepancies between these documents and the final films were the result of a creative collaboration between the director and the editor. Ideally, this model of “script-to-screen” archival research will inspire other academics to investigate how and where a film’s creative revision occurs during post-production—and to what effect. / text

This study explored the extent to which graduate students enrolled in Higher Education courses were proficient at writing. While writing proficiency has been extensively studied in elementary students, high school students, and undergraduates, little attention has been paid to formally evaluating graduate student proficiency. Despite the relatively new idea of assessing graduate student writing, it is a concern for graduate faculty and a valid area for study. This study was based on a sample of graduate students enrolled in at least one course in Higher Education at public institutions of higher education in the United States. A total sample size of 97 students was obtained. Two instruments were administered to the participants: A General Information and Writing Experience Questionnaire (G-WEQ) and the SAT II: Writing Test, Part B. The G-WEQ was designed to capture demographic information about the participants, as well as allow participants to provide a self-assessment of writing and describe the writing experiences they are currently encountering in graduate school. To assess writing proficiency for the participants, the SAT II: Writing Test, Part B was used. The purpose of the test is to "measure [test takers'] ability to...recognize faults in usage and structure, and to use language with sensitivity to meaning" (Educational Testing Service, 1999-2000, p.7). The z-Statistic for a Single Sample Mean significance test was used to determine whether the sample mean scored significantly higher than the population mean on the SAT II: Writing Test. This was not the case (z=0.295, p<0.38). The graduate students in this sample did not score significantly higher on the SAT II: Writing Test, Part B than the typical high school senior whose scores enter into the norm group.

Many scholars have suggested that current copyright law is ill-equipped to the challenges of determining the authorship of collaborative work. This thesis analyses four case studies of large scale collaboration (Wikipedia, Indigenous art, scientific collaborations and film) in order to consider how best to determine the authorship of the creative works that they produce for the purposes of copyright law. Current scholarship and much of the case law has tended to favour a restrictive approach to the grant of joint authorship status, in order to minimise the number of potential authors of a work. This is motivated by instrumental/pragmatic concerns related to the ease of exploiting a copyright work. As joint authors are often joint first owners of copyright, proponents of this approach fear that a minor contributor might cause hold-up problems by refusing to consent to licence or assign their copyright interest. This thesis argues that an instrumental/pragmatic approach to the application of the joint authorship test is undesirable, because it distances the test both from the creativity reality of collective authorship and from copyright’s notion of the author. In addition, the instrumental/pragmatic approach relies upon assumptions about creators, the creative process and the exploitation of creative works which are not borne out in the case studies. Building on the insights from the four case studies, the thesis argues that the best approach to applying the joint authorship test to works of collective authorship is one that is inclusive (of all those who have made a more than de minimis contribution of creative choices to the protected expression) and contextual (in that it takes the context of creativity into account). In coming to this conclusion the thesis also offers broader lessons about the nature of authorship and the ongoing relevance of copyright law standards for the regulation of collaborative creativity.

Techniques that can effectively identify authors of texts are of great importance in scenarios such as detecting plagiarism, and identifying a source of information. A range of attribution approaches has been proposed in recent years, but none of these are particularly satisfactory; some of them are ad hoc and most have defects in terms of scalability, effectiveness, and computational cost. Good test collections are critical for evaluation of authorship attribution (AA) techniques. However, there are no standard benchmarks available in this area; it is almost always the case that researchers have their own test collections. Furthermore, collections that have been explored in AA are usually small, and thus whether the existing approaches are reliable or scalable is unclear. We develop several AA collections that are substantially larger than those in literature; machine learning methods are used to establish the value of using such corpora in AA. The results, also used as baseline results in this thesis, show that the developed text collections can be used as standard benchmarks, and are able to clearly distinguish between different approaches. One of the major contributions is that we propose use of the Kullback-Leibler divergence, a measure of how different two distributions are, to identify authors based on elements of writing style. The results show that our approach is at least as effective as, if not always better than, the best existing attribution methods-that is, support vector machines-for two-class AA, and is superior for multi-class AA. Moreover our proposed method has much lower computational cost and is cheaper to train. Style markers are the key elements of style analysis. We explore several approaches to tokenising documents to extract style markers, examining which marker type works the best. We also propose three systems that boost the AA performance by combining evidence from various marker types, motivated from the observation that there is no one type of marker that can satisfy all AA scenarios. To address the scalability of AA, we propose the novel task of authorship search (AS), inspired by document search and intended for large document collections. Our results show that AS is reasonably effective to find documents by a particular author, even within a collection consisting of half a million documents. Beyond search, we also propose the AS-based method to identify authorship. Our method is substantially more scalable than any method published in prior AA research, in terms of the collection size and the number of candidate authors; the discrimination is scaled up to several hundred authors.

E-mail has become the most popular Internet application and with its rise in use has come an inevitable increase in the use of e-mail for criminal purposes. It is possible for an e-mail message to be sent anonymously or through spoofed servers. Computer forensics analysts need a tool that can be used to identify the author of such e-mail messages. This thesis describes the development of such a tool using techniques from the fields of stylometry and machine learning. An author's style can be reduced to a pattern by making measurements of various stylometric features from the text. E-mail messages also contain macro-structural features that can be measured. These features together can be used with the Support Vector Machine learning algorithm to classify or attribute authorship of e-mail messages to an author providing a suitable sample of messages is available for comparison. In an investigation, the set of authors may need to be reduced from an initial large list of possible suspects. This research has trialled authorship characterisation based on sociolinguistic cohorts, such as gender and language background, as a technique for profiling the anonymous message so that the suspect list can be reduced.

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