The first rule of writing is an important one: writers should not plagiarize; what they write should be their own. It is taken for granted. But who made the rule? Why? And how is it enforced? This dissertation traces the history of proprietary authorship from the earliest distinctions between imitation and misappropriation in the humanist schoolroom, through the first recorded uses in English of the Latin legal term plagiary (kidnapper) as a metaphor for literary misappropriation, to an inchoate conception of literary property among a coterie of writers in early modern England. It argues that the recognition of literary misappropriation emerged as a result of the instrumental reading habits of early humanist scholars and that the subsequent distinction between authors and plagiarists depended more upon the maturity of the writer than has been previously recognized. Accusations of plagiarism were a means of discrediting a rival, although in this capacity their import also depended largely upon one’s perspective. In the absence of established trade customs, writers had to subscribe to the proprieties of the institutions with which they were affiliated. They were deemed plagiarists only when their actions were found to be out of place. These proprieties not only informed early modern definitions of plagiarism; they also helped define the perimeters of proprietary authorship. Authors who wished to make a fair profit from labours in print had to conform to the regulations of the Stationer’s Company, just as authors who maintained a proprietary interest in their manuscripts had to draw upon legal rhetoric, such as plagiary, in the absence of a legally recognized notion of authorial property. With new information technologies expanding the boundaries of proprietary authorship everyday, the proprieties according to which these boundaries were first defined should help teachers and researchers not only better to understand the nature of Renaissance authorship but also to equip their students for the future.

The first rule of writing is an important one: writers should not plagiarize; what they write should be their own. It is taken for granted. But who made the rule? Why? And how is it enforced? This dissertation traces the history of proprietary authorship from the earliest distinctions between imitation and misappropriation in the humanist schoolroom, through the first recorded uses in English of the Latin legal term plagiary (kidnapper) as a metaphor for literary misappropriation, to an inchoate conception of literary property among a coterie of writers in early modern England. It argues that the recognition of literary misappropriation emerged as a result of the instrumental reading habits of early humanist scholars and that the subsequent distinction between authors and plagiarists depended more upon the maturity of the writer than has been previously recognized. Accusations of plagiarism were a means of discrediting a rival, although in this capacity their import also depended largely upon one’s perspective. In the absence of established trade customs, writers had to subscribe to the proprieties of the institutions with which they were affiliated. They were deemed plagiarists only when their actions were found to be out of place. These proprieties not only informed early modern definitions of plagiarism; they also helped define the perimeters of proprietary authorship. Authors who wished to make a fair profit from labours in print had to conform to the regulations of the Stationer’s Company, just as authors who maintained a proprietary interest in their manuscripts had to draw upon legal rhetoric, such as plagiary, in the absence of a legally recognized notion of authorial property. With new information technologies expanding the boundaries of proprietary authorship everyday, the proprieties according to which these boundaries were first defined should help teachers and researchers not only better to understand the nature of Renaissance authorship but also to equip their students for the future.

This aim of this study was to investigate the extent to which writing skills offered in the one-year intensive English course and in the 75 hour course of Speaking and Writing Skills, prepare students for academic writing in the subjects which are offered through the medium of English. The study focused on first year Economics and Management.

The loss of intimacy is a pervasive tale, felt especially poignantly when the particular story, with its plot lines of love and betrayal, soaked as they are in rage and grief, is my own. By inverting the research process, whereby I call upon friends, and strangers who become friends, to assist me in the meaning-making process, this autoethnographic account of the twenty year downward spiral of my now defunct marriage makes tangible the shared project of making sense of intimacy, love and loss. It connects the personal to the social, cultural, and (most especially) the politically gendered nature of heterosexual relationship experience. It speaks of the process that makes it possible for me to tell my story and of the ethical tensions involved in telling a story of

Thesis (Ph. D) -- University of Western Sydney, Nepean, 1999. / "An enquiry into the relationship between place and space, and the writiing life, with reference to journals and poetry written by Diane Fahey, and to works by Eavan Boland, Annie Dillard, and May Sarton" -- p. ii. Thesis submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy, School of Communication and Media Studies, University of Western Sydney, Nepean. Bibliography : p. 259-264.

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Thesis (MA (English))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis describes a qualitative investigation of the creative writing processes of successful publishing authors in the South African context. Four successful South African authors of fiction were interviewed with the intention of garnering current, local insights into the creative writing process in order to nuance this field of knowledge and to challenge reductive, undynamic ways of thinking about it. What these creative writers say about their writing processes is discussed in the context of previous empirical research on the writing process and the creative process in the related fields of composition studies and psychology. The resulting theoretical paradigm for the study was a flexible, recursive cognitive process model of the writing process within the context of a particular domain and field, in opposition to a stage model of writing or models of writing that are devoid of social and affective context. Interviews with Margie Orford, Imraan Coovadia, Lesley Beake and John van de Ruit investigated how expert creative writers work in the South African context and explored contributing factors to the writing process, from initial inspiration or origination of ideas through to submission of completed manuscripts for publication. The creative writers in question are experienced authors who have published more than once as the intention was to discover what successful or established authors of literary fiction do, with an eye to making a contribution to current international attempts at theorising the field of creative writing. The results of this research indicated clear support for most of the combined underlying theories and hypotheses discussed in the literature study, with an indication of some areas that required further refining and research, such as the impact of situational variables on the writing process. Finally some suggestions are made as to how the theoretical models might be improved through combination and comparison with one another and with more extensive empirical research, and some of the implications of this research for creative writing pedagogy and the development of novice writers are explored. / AFRIKAANSE OPSOMMING: Hierdie tesis beskryf ’n kwalitatiewe ondersoek van die kreatiewe skryfprosesse van suksesvolle gepubliseerde outeurs in die Suid-Afrikaanse konteks. Onderhoude is met vier suksesvolle fiksieskrywers gevoer met die doel om hedendaagse, plaaslike insig in die kreatiewe skryfproses te verkry ten einde hierdie kennisgebied te nuanseer en reduserende, ondinamiese denke daaroor aan te veg. Hierdie kreatiewe skrywers se beskrywing van hul skryfproses word bespreek teen die agtergrond van vorige empiriese navorsing oor die skryfproses en die kreatiewe proses in die verwante gebiede van stylstudies en sielkunde. Die teoretiese paradigma vir die studie wat hieruit gespruit het, was ’n buigsame, rekursiewe kognitiewe prosesmodel van die skryfproses in die konteks van ’n spesifieke domein en gebied, in teenstelling met ’n faseskryfmodel of skryfmodelle sonder enige maatskaplike en affektiewe konteks. Deur middel van onderhoude met Margie Orford, Imraan Coovadia, Lesley Beake en John van de Ruit is ondersoek hoe ervare kreatiewe skrywers in die Suid-Afrikaanse konteks werk, en faktore wat tot die skryfproses bydra, is ondersoek. Sodanige proses strek van aanvanklike inspirasie of die oorsprong van idees tot die inlewering van voltooide manuskripte vir publikasie. Die betrokke kreatiewe skrywers is bedrewe outeurs wat reeds meer as een keer gepubliseer het, aangesien die voorneme was om uit te vind hoe suksesvolle of gevestigde outeurs te werk gaan met die oog daarop om ’n bydrae te maak tot huidige internasionale pogings om die gebied van kreatiewe skryfwerk te teoretiseer. Die resultate van hierdie studie toon duidelike ondersteuning vir die meeste van die gekombineerde onderliggende teorieë en hipoteses wat in die literatuurstudie bespreek is, alhoewel daar ’n aanduiding is dat sommige gebiede verdere verfyning en navorsing verg, byvoorbeeld die impak van situasionele veranderlikes op die skryfproses. Laastens word enkele aanbevelings gemaak oor hoe die teoretiese modelle verbeter kan word deur kombinasie en vergelyking met ander modelle en deur meer omvattende empiriese navorsing, en die implikasies van hierdie navorsing vir die pedagogie van kreatiewe skryfwerk en die ontwikkeling van amateurskrywers word ook ondersoek.

Submitted by Ronildo Prado (ronisp@ufscar.br) on 2017-08-23T18:10:34Z No. of bitstreams: 1 DissPSR.pdf: 1760628 bytes, checksum: bff18f1d2237484b892281281622ee78 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-23T18:10:44Z (GMT) No. of bitstreams: 1 DissPSR.pdf: 1760628 bytes, checksum: bff18f1d2237484b892281281622ee78 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-08-23T18:10:51Z (GMT) No. of bitstreams: 1 DissPSR.pdf: 1760628 bytes, checksum: bff18f1d2237484b892281281622ee78 (MD5) / Made available in DSpace on 2017-08-23T18:10:58Z (GMT). No. of bitstreams: 1 DissPSR.pdf: 1760628 bytes, checksum: bff18f1d2237484b892281281622ee78 (MD5) Previous issue date: 2016-02-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / This dissertation derives from the continuation of reflections started in previous researches (scientific initiation and term paper), when we use the discursive analysis of a “new” type of text, formed by short phrases published in social networks, such as Facebook. Those phrases present a particular formal structure, and their meanings play different roles in virtual interaction. We designate those “phrases” circling in the virtual environment, which are selected, highlighted, and have images added to help build a universal text, as shared messages. We focus, at this master’s research, therefore, to the analysis of constitution and sharing practices of some messages with pieces of text from books and interviews, which enunciation are related to contemporary literary authors renowned in Brazil – like Caio Fernando Abreu and Clarice Lispector, and others that although have fewer cultural prestige, show a wide renown between groups of young readers, i.e. Tati Bernardi. This way, our corpus is made of messages from three sharing pages: O Mundo De Caio Fernando Abreu e Clarice Lispector; Caio, Tati e Clarice o que me diz; and Trechos de Livros. All these pages dedicate to publish messages related to the authors in their names or that present a collection of pieces of text from various recent published books, from which is common posting messages with authorship given to Caio Fernando Abreu and Clarice Lispector, specifically. In this dissertation, evidences of how the authorship works along with the construction and sharing of those messages are analyzed, through a formal analysis of them, as well as an analysis of the readers’ comments about the authorship, under the theoretical-methodological perspective of two contemporary theories that allow us to study the question of reading: the french Discourse Analysis, and specially the theories from works of Michel Foucault about the “author function”; and the Cultural History of reading, mainly about the works of Roger Chartier about reading actually – theories that, in their articulation, allow us to list permanencies and mutations through which our actual reading practices go. We observe that, although recent, the production and sharing of those speeches are submitted to an authorship working mechanism relatively similar to printed order. About the readers’ comments, we notice two speaking forms: one that copy, in a certain way, the form and content expressed by the messages, applying aspects of the “poetic function”, at the author’s style at expressing its impressions about the message; and another one that focuses on questioning the authorship of those speeches, citing the original sources of the texts, or questioning and recognizing vestiges that allow the identification of a correct authorship attribution in those messages. This way, we can analyze some characteristics of this new reader’s/author’s profile that emerge with the creation and diffusion of new technologies. / Esta dissertação resulta da continuidade das reflexões iniciadas em pesquisas anteriores (Iniciação Científica e Trabalho de Conclusão de Curso), quando nos ocupamos da análise discursiva de um tipo de texto relativamente “novo”, constituído de frases curtas que circulam em sites de redes sociais como o Facebook. Estas apresentam uma estrutura formal peculiar, e aquilo que enunciam desempenha funções variadas na interação virtual. Designamos essas “frases” que circulam nesse ambiente virtual, que são selecionadas, destacadas e acrescidas de imagens que visam à construção de um texto sincrético, como mensagens compartilhadas. Dedicamo-nos, nesta pesquisa de mestrado, portanto, à análise das práticas de constituição e de compartilhamento de certas mensagens compostas com trechos de livros e entrevistas, cujos enunciados são atribuídos a autores literários contemporâneos e de renome no Brasil – como Caio Fernando Abreu e Clarice Lispector, e outros que, embora gozem de menor prestígio cultural, apresentam uma grande circulação entre segmentos do público jovem, como a escritora Tati Bernardi etc. Assim, nosso corpus é composto de mensagens de três páginas de compartilhamento: O Mundo De Caio Fernando Abreu e Clarice Lispector; Caio, Tati e Clarice o que me diz; e Trechos de Livros. Todas elas dedicam-se a publicações voltadas aos autores que as nomeiam ou apresentam uma seleta de trechos de diversas publicações de livros atuais, dentre as quais é recorrente a postagem de mensagens atribuídas a Caio Fernando Abreu e Clarice Lispector, especificamente. São analisados, nesta dissertação, indícios do funcionamento específico da autoria na construção e compartilhamento dessas mensagens, por meio da análise formal das mesmas, bem como pela análise dos comentários de seus leitores, e que tangenciem a questão da autoria, sob a perspectiva teórico-metodológica de duas teorias contemporâneas que nos permitem estudar a questão da leitura: a Análise do Discurso de linha francesa, em especial no que concerne aos trabalhos de Michel Foucault acerca da “função autor”; e a História Cultural da leitura, principalmente no que concerne aos trabalhos de Roger Chartier sobre a leitura na atualidade – teorias que, em sua articulação, nos permitem levantar permanências e mutações pelas quais passam nossas práticas de leitura na atualidade. Constatamos que, apesar de recentes, a produção e circulação desses enunciados submetem-se a um regime de funcionamento da autoria relativamente semelhante ao da ordem do impresso. Quanto aos comentários dos leitores, constatamos duas formas de enunciar: uma que mimetiza, de certo modo, a forma e o conteúdo expresso pelas mensagens, empregando aspectos da “função poética”, do estilo do autor na expressão de suas impressões sobre a mensagem; e outra que se volta para o questionamento da autoria desses enunciados, reclamando as fontes originárias dos textos, ou questionando e reconhecendo indícios que permitem identificar se a autoria dessas mensagens foi atribuída corretamente. Dessa forma, podemos analisar alguns indícios do perfil desse novo leitor/autor que emerge com a criação e difusão das tecnologias digitais. / CNPq: 134333/2014-4