"It is with one of the publishing awards available to young poets that this study is concerned, namely, the Yale Series of Younger Poets, which has been offered since 1919 by the Yale University Press. Because this award was initiated to furnish a medium of publication for a first volume by a young poet as a stimulus to further writing, this writer was interested in determining whether this award proved to be an incentive to further writing by the individuals of the group. This study, therefore, is an attempt to determine if the first forty poets represented in the Series continued writing after their first publication, and if so, in what media, and if further literary recognition was awarded to any of the group"--Introduction. / Typescript. / "August, 1953." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Agnes Gregory, Professor Directing Study. / Includes bibliographical references (leaves 102-105).

No description available.

Encyclopædia Mundi is an interactive software experience that questions the relationships between the authority of authorship, knowledge, and artificially generated text. The software presents itself as a genuine 90s digital encyclopedia, but the absurdity of the generated text, which is syntactically correct but semantically dubious, subverts the audience's expectation and reveals its true nature as an artwork. In this context, the audience is prompted to reflect on how we socially attribute authority to existing encyclopedic models, as well as the future role of artificial intelligence in contributing to our understanding of knowledge, truth, and reality. / Master of Fine Arts / What does knowledge and the authority of authorship mean in a society where artificial intelligence is becoming more involved with our lives? Encyclopædia Mundi is an interactive software experience that takes the form of a genuine 90s digital encyclopedia, but the absurdity of the generated text, which follows correct English grammar but has little or no sensible meaning, subverts the audience's expectation and reveals its true nature as an artwork. In this context, the audience is prompted to reflect on how we socially attribute authority to existing encyclopedic models, as well as the future role of AI in contributing to our understanding of knowledge, truth, and reality.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfillment of the requirements for the degree of Masters in Publishing Studies 2017 / An introspective look at editing a manuscript is a personal account of editing and proofreading an unpublished manuscript. It focuses on how an editor looks at a piece of work and the different aspects involved in editing such as how to communicate with an author, how to avoid bias editing as well as how to approach correcting grammar, punctuation and language. / MT2018

Issued also as Thesis (Ph. D.)--Columbia University. / Bibliography: p. 74.

Submitted by Rafael Santana (rafael.silvasantana@ufpe.br) on 2017-12-06T17:09:43Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) tese deposito Eduardo Dias.pdf: 13485018 bytes, checksum: 3e7ed9b8bb164286f2486067e8bcc8c2 (MD5) / Made available in DSpace on 2017-12-06T17:09:43Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) tese deposito Eduardo Dias.pdf: 13485018 bytes, checksum: 3e7ed9b8bb164286f2486067e8bcc8c2 (MD5) Previous issue date: 2015-03-03 / A investigação que esta pesquisa empreende procurou desenvolver uma perspectiva para a compreensão dos julgamentos de valor de autoria do videoclipe e as atribuições que decorrem desse processo, observando como as transformações na materialidade do videoclipe estão articuladas a mudanças na própria ideia de autoria, abordada nesta tese como autoria múltipla. A abrangência dessa discussão pretende incorporar as qualidades artísticas dos clipes articulando-as com as suas características promocionais e midiáticas, desenvolvendo um resgate das principais perspectivas sobre a autoria nas indústrias culturais com o intuito de instrumentalizar uma noção que priorize esta natureza ambígua do videoclipe. O intuito é amplificar o panorama da discussão sobre autoria no videoclipe desenvolvido a partir das suas próprias particularidades como um formato cultural. Esse panorama foi construído a partir de discussões sobre as características de produção e reconhecimento do clipe que despertaram as atribuições e manifestações de autoria ao longo de sua história. A proposta se concretizou através da promoção de uma perspectiva da valoração autoral no videoclipe cuja abrangência atinja os modos de produção e consumo juntamente com a percepção das ações dos indivíduos envolvidos na criação, produção e reconhecimento. Assim, hoje, para além da perspectiva dos videoclipes como um formato ligado às grades televisivas, é importante pensá-los em suas formas de autoria múltipla como ambientes visuais que acionam valorações e atribuições de autoria aos clipes. / This research seeks to develop a perspective to the comprehension of value judgments of authorship and their assignments, noticing the transformations in how the materialization of music vídeo are articulated to the change in the ideia of authorship, addressed in this research as multiple authorship. This discussion coverage intend embody the artistic qualities of music vídeos in an articulation with their marketing and media characteristics with the assistence of the majors perspectives about authorship in the cultural industry to promote an view which honors the ambiguous essence of music videos. The intention is amplify the survey of discussion about authorship in music video developed on their own features as cultural format. This survey was built from discussions about features of production and consumption of music vídeo which arouse the attributions and manifestations of authorship in their own history. The proposition was materialized through the production of a perspective of authorship valuation in music vídeo whick coverage reachs the forms of production and comsumption along with perception of individuals’ attitudes who are attendants in the conception, production and consumption. Thus, beyond the production television-centered, it is important considering forms of multiple authorship as visuals ambients which operates valuations and attributions of authorship in music video.

This qualitative research study examined the concepts of authorship exhibited by twelve selected good readers and writers in grades six and eight. Data were collected during pre-writing session interviews, five hour-long writing sessions, and post-composition interviews, and from written compositions and questionnaires. The following conclusions were drawn from the study. School and home reading programs that emphasized children's literature selections and regular and wide-ranged reading practices directly influenced the subjects' writing behaviors and concepts of authorship. In addition, those students who performed strongest as authors were those who found time to write privately at home or in a home-like situation. Revision occurred in traditional ways, such as movement or deletion of text, but also appeared to be related to the subjects' personal writing styles, such as verbalization, mental outlining, or reading the text out loud. Both grade levels exhibited individual writing development through integration of experiences, knowledge, and physical and social maturation. For these young writers, the key factor in perceived authorship was whether a writer had an interest in and enjoyed writing.

No description available.

Between the founding of the Republic in 1912 and the 1937 outbreak of the Second Sino-Japanese War, an unprecedented pooling of cultural, technological, and financial resources centered around a concept of authorship as the work of a modern, individuated creator. The emergent figure of the author, as a new centerpiece in the reception of both traditional vernacular fiction and New Literature alike, was first and foremost an unfolding literary event throughout the 1920s, which simultaneously gained enough social and institutional traction to quickly spread across various other fields of cultural production by the late 1930s. However, despite its status as a historical construct, the author-centered model of interpretation and analysis remains the least interrogated and historicized assumption in the scholarship and pedagogy of modern Chinese literature. In approaching this problem, I propose “fictions of authorship” as a conceptual framework to account for the different domains of cultural formation in which discourses of authorship obtained relevance in early 20th century China. Additionally, the framework is also useful for registering different historical moments of author-making. The most recent of such moments, and the object of study in this dissertation, can be characterized by major shifts within lateral and hierarchical organizations of textual labors from the late Qing onwards. Moreover, this particular episode of the modern author articulates a critical redistribution of symbolic power amongst appearing (and disappearing) literary agents, from which authorship emerged as the most authoritative form of creative labor. Fabulations of the modern author was as much about ushering in new concepts and practices of literature as it was about the death of traditional literati institutions and modes of knowledge production. Beginning with the introduction of modern punctuation initiated in 1916, the erasure of fiction commentary from canonical vernacular novels throughout the subsequent decade, followed by the New Literatures of 1920s and early 1930s, this dissertation traces the emergence of the author through developments in theories of reading and literary criticism, the temporal structures of paratextual practice, discourses of creativity and writing, and legal codifications of copyright. I argue that the notion of individuated authorship competed with other collaborative or collective forms of textual labor—if not in actual practice, then certainly in their institutional articulations and the professionalization of various textual roles. Taken together, these historical processes of negotiation and reorganization manifest a “fiction of authorship” that illuminates both productive and constraining dimensions of the literary reform agenda in China’s struggle for nationhood during the early 20th century.

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