The thesis examines the expanding relationship between Artificial Intelligence (AI) and art. Through research, interviews, and a survey, the study concludes that AI has a significant impact on art, both positively and negatively. The findings suggest that AI can serve as a helpful tool for artists in creating new artwork, but can also pose a threat due to less job opportunities. Additionally, the thesis addresses ethical concerns surrounding the use of AI in art, such as authorship and the lack of diversity in AI-generated art. The research suggests for visual artists to use AI as a tool to enhance their process and thrive where the AI lacks. AI art is not meant to replace visual artists, and the study is made to understand the connection between technology and art.

This research paper analyzes the impact of AI-generated text on academic writing, specifically on authorship and voice. OpenAI's ChatGPT, a large language model, is used as a representative case study. The rise of AI in education has sparked debates regarding its advantages and disadvantages. The use of AI in written assessments and its potential impact on traditional notions of authorship, originality, and academic integrity are key concerns. The present study compares an essay written by a student for an English literature course with an equivalent essay generated through ChatGPT. It investigates whether AI can meet the formal requirements of academic writing and the distinctiveness of voice in the generated text, through the lens of assertiveness, self-identification and authorial presence. The present study also highlights the difficulties involved in generating such text. The results show that ChatGPT can produce seemingly appropriate context-based texts, but it requires assistance with factual accuracy and the nuanced characteristics of authorship found in human writing. The AI-generated text lacks the depth, specificity, and accurate source referencing present in human-generated text. The present study concludes that although AI has potential as a tool, its current capabilities, particularly in generating academic text, are limited.

[pt] A tese Vidas negras, vidas literárias (1978-2020) tem como objetivo geral analisar a vida literária de escritores e escritoras negros brasileiros durante o período entre 1978 e 2020. Os marcos temporais e espaciais se justificam pela articulação entre ações literárias e ações políticas relativas ao tema: em 1978, foi criada a série literária Cadernos Negros e no mesmo período surgiu o Movimento Negro Unificado; já em 2020, ocorreu um aumento de publicações de autoria negra por editoras brasileiras e nesse mesmo ano houve uma intensificação do movimento Black Lives Matter (Vidas negras importam). Entende-se que a vida de escritoras e escritores negros é afetada pelo racismo estrutural e pela necropolítica, seja de forma geral, como acontece com todo indivíduo negro brasileiro, seja de maneira específica, na redução (e ampliação) de oportunidades para produção e circulação de obras literárias. A pesquisa é do tipo exploratória, descritiva e quantitativa e constitui seu referencial teórico a partir dos textos sobre vida literária (Broca, 2005; Moriconi, 2006), racismo estrutural (Almeida, 2019), epistemicídio (Carneiro, 2005), necropolítica (Mbembe, 2018), literatura negro-brasileira (Cuti, 2010), mercado editorial (Dalcastagnè, 2011, 2014; Oliveira, Rodrigues, 2016), escrevivência (Evaristo, 2009) e de uma seleção do repertório literário (ficção e poesia) produzido por escritores e escritoras negros no período delimitado para esta tese. A leitura deste repertório identificou que a recorrência temática sobre a vulnerabilidade à morte da população negra constitui um material importante a ser analisado em diálogo com os conceitos de literatura negro-brasileira, ancestralidade e escrevivência. Esta seleção de textos contribui para a análise da vida literária deste grupo de escritores e escritoras negros. Entende-se que esta vida literária, articulada por estratégias de produção, divulgação e circulação de obras, realizadas no período entre 1978 e 2020, embora, em sua maioria, distante dos espaços privilegiados de legitimação da literatura, integra o mosaico da vida literária brasileira e reivindica aos pesquisadores a experimentação de um modelo (flexível e inclusivo) de descrição, inscrição, mapeamento e abordagem, como, por exemplo, o realizado por Broca (2005) no livro A vida literária no Brasil − 1900. / [en] The thesis Black lives, literary lives (1978-2020) has the general objective of analyzing the literary lives of black Brazilian writers during the period between 1978 and 2020. The temporal and spatial milestones are justified by the articulation between literary and political actions related to the theme: in 1978, the literary series Cadernos Negros was created and in the same period the Movimento Negro Unificado (Unified Black Movement) emerged; in 2020, there was an increase in black publications by Brazilian publishers and in that same year there was an intensification of the Black Lives Matter movement. It is understood that the lives of black writers are affected by structural racism and necropolitics, either in a general way, as it happens to every black Brazilian individual, or in a specific way, in the reduction (and expansion) of opportunities for production and circulation of literary works. The research is of exploratory, descriptive, and quantitative type and constitutes its theoretical framework from texts on literary life (Broca, 2005; Moriconi, 2006), structural racism (Almeida, 2019), epistemicide (Carneiro, 2005), necropolitics (Mbembe, 2018), black-Brazilian literature (Cuti, 2010), publishing market (Dalcastagnè, 2011, 2014; Oliveira, Rodrigues, 2016), escrevivência (Evaristo, 2009) and of a selection of the literary repertoire (fiction and poetry) produced by black male and female writers in the period delimited for this thesis. The reading of this repertoire identified a thematic recurrence about the vulnerability to death of the black population constitutes an important material to be analyzed in dialogue with the concepts of black-brazilian literature, ancestry, and survival. This selection of texts contributes to the analysis of the literary life of this group of black writers. It is understood that this literary life, articulated by strategies of production, dissemination and circulation of works, carried out in the period between 1978 and 2020, although, in its majority, distant from the privileged spaces of legitimation of literature, integrates the mosaic of Brazilian literary life and claims to researchers the experimentation of a (flexible and inclusive) model of description, inscription, mapping and approach, as, for example, the one carried out by Broca (2005) in the book A vida literária no Brasil - 1900.

[pt] Nesta dissertação examina-se a autoria no Campo do Design. Argumenta-se que a noção de autoria adotada hegemonicamente pelo campo é carismática. É dizer, os pares do campo defendem a existência de um dom extraordinário e obscuro concedido para alguém que servirá para o bem do seu grupo social, enxerga o designer autor como aquele agente que, através da inovação e da criatividade, constrói seus objetos e/ou imagens de modo autoritário, autônomo e individual, sem nenhuma interferência externa. Considera-se que esta visão advém do Campo da Arte, visto que o Campo do Design herdou muitas noções do Campo da Arte, e que ainda existe uma incerteza sobre o que pertence a um campo e o que pertence ao outro. Ademais, percebe-se que os agentes de legitimação do Campo do Design por muitas vezes não consideram o modo de produção vigente, o capitalismo, e que neste modo de produção o que se produz são mercadorias - estas projetadas pelo Campo do Design - que não possuem apenas valor de uso, mas principalmente valor de troca simbólica. Assim, se estuda as transformações históricas que ocorreram no Campo da Arte no que diz respeito à autoria para entender como as noções que permeiam o Campo da Arte foram herdadas pelo Campo do Design e como estas noções foram se transformando e se reproduzindo ao longo do período moderno, de forma a fazer uma crítica a tais noções, que se julga aqui serem passadistas. Assim sendo, se propõe que o designer como autor é uma forma de produzir capital simbólico no Campo do Design, e que a promessa de autoria promovida nas escolas de design produz alienação, e que tal alienação não condiz com a necessidade social. / [en] This dissertation examines the authorship in the Field of Design. It is argued that the notion of authorship hegemonically adopted by the field is charismatic, that is, it sees the designer author as that agent who, through innovation and creativity, builds his objects and/or images in an authoritarian, autonomous and individual way, without no outside interference. This view is considered to come from the Art Field, since the Design Field has inherited many notions from the Art Field, and there is still uncertainty about what belongs to one field and what belongs to the other. Moreover, it is clear that the legitimating agents of the Design Field often do not consider the current mode of production, capitalism, and that in this mode of production what they produce are commodities - these designed by the Design Field - that do not have only use value, but mainly symbolic exchange value. Thus, we study the historical transformations that occurred in the field of art with regard to authorship to understand how the notions that permeate the field of art were inherited by the Field of Design and how these notions were transformed and reproduced to throughout the modern period, in order to make a critique of such notions, which are thought here to be outdated. Therefore, it is proposed that the designer as an author is a way of producing symbolic capital in the Field of Design, and that the promise of authorship promoted in the design schools produces alienation, and that such alienation does not match social needs.

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Universities are increasingly applying student developmental theories in a variety of contexts in order to better understand students and to accomplish institutional educational objectives. Robert Kegan's constructive-developmental theory has been utilized in the creation of the Community Standards Model, a program designed for use in university residence halls. The purpose of the Model is to promote student development from Kegan's third order of consciousness, in which student identity is based on a fusion of their peers' expectations and ideas, to the fourth order of consciousness, in which one becomes the author of his or her own values, beliefs, and ideals. The Community Standards Model has been in place in Brigham Young University-Provo residence halls since 2000, yet no studies have been done to determine its effects. The present study examined the development of student self-authored identity as it occurred during the implementation of the Community Standards Model at BYU-Provo. The Student Developmental Task and Lifestyle Inventory was used to evaluate student development across three general developmental tasks. Two populations were sampled: students at BYU-Provo residence halls, where the Model was practiced, and students from BYU-Idaho residence halls, where the Model was not practiced. Students were tested at the beginning and at the end of the 2004-2005 academic school year. Split plot ANOVAs were conducted and no significant interactions were found for any of the three task scores. This study did not detect any significant differential effects with regard to student developmental task achievement that could be attributed to the Community Standards Model. Study results indicated that the Community Standards Model may not fit well at BYU. Many reasons exist as to why the Model may not promote student self-authored identity at BYU, including a mismatch between the Model's emphasis on self-determination of values and ideals and the institution's imposition of certain behavioral and belief standards. However, the Model may have beneficial effects in other areas, such as the development of community. Further research is needed to more fully understand which effects, if any, the Community Standards Model is having at BYU.

This research explores and describes co-authorship network structures in the academic publication process. The production of academic publications, through co-authorship choices or strategies, creates a network structure among co-authoring scholars which can influence research visibility and enhance stature among peers (Bayer & Smart, 1991). A specific scholar's co-authorship network may reflect a structure of more cohesion (Coleman, 1988) or one which fills more structural holes (Burt, 1992), both of which are theorized, from contrasting perspectives, to be associated with publication success. Therefore, this study examined the association of these two academic co-authorship network structures with publication success, specifically within the field of research and scholarship on higher education. The network population consisted of 810 academic scholars who published articles in at least one of four top-ranked higher education research journals. Based upon structural holes and cohesion, seven different co-authorship network structures were identified. In terms of total publications, findings suggest that filling structural holes—a network structure that spans across the larger network and provides authors with a greater variety of co-authors—may even be further enhanced when there were also multiple publications with the same co-authors. Thus, an ideal hybrid network structure of both structural holes and strong ties may be possible. The data suggested that co-authoring multiple times with the same scholars (mean tie strength) may be critical to realizing the potential value buried within the structural holes (Burt, 2001).

Stylometry assumes that the essence of the individual style of an author can be captured using a number of quantitative criteria, such as the relative frequencies of noncontextual words (e.g., or, the, and, etc.). Several statistical methodologies have been developed for authorship analysis. Jockers et al. (2009) utilize Nearest Shrunken Centroid (NSC) classification, a promising classification methodology in DNA microarray analysis for authorship analysis of the Book of Mormon. Schaalje et al. (2010) develop an extended NSC classification to remedy the problem of a missing author. Dabney (2005) and Koppel et al. (2009) suggest other modifications of NSC. This paper develops a full Bayesian classifier and compares its performance to five versions of the NSC classifier using the Federalist Papers, the Book of Mormon text blocks, and the texts of seven other authors. The full Bayesian classifier was superior to all other methods.

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.