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Plagiate nenne ich „Wissenskleptomanie“, weil sie auf der Tagesordnung sind und die Art und Weisen lässt sich an Dreistigkeit, Unverfrorenheit und Schamlosigkeit kaum noch übertreffen. Die Kunst des Plagiats beginnt bereits im Studium beim Verfassen von Seminar- und Abschlussarbeiten. Die Verrohung der akademischen ehrlichen Praxis ist durch Raffinesse, sehr überlegte und höchst bewusste Vorgehensweisen. Obwohl das Plagiat eine Straftat darstellt, werden die Plagiatsmethoden immer perfider, obwohl das korrekte Zitieren den Studierenden seit Jahrzehnten an allen seriösen Instituten deutscher Universitäten beigebracht wird. Von einer Kultur der Ehrlichkeit ist man massiv zu einer „Plagiatsunkultur“ bzw. zu einer „Plagiatskultur“, mit „Doppelplagiaten“ und „Fortgesetztenplagiaten“ übergegangen. Es werden mögliche Gründe der Plagiatskultur, wie mangende Aufsicht und Kompetenz von Betreuern:innen, Fachgutachter:innen, Promotionskommissionen und Fakultäten, beschrieben. Letztlich sind die Sitten soweit runter Gefahren, dass Plagiate nicht nur der Gesellschaft nicht interessieren, sondern auch den Fakultäten. / I call plagiarism “knowledge kleptomania” because it is the order of the day and the ways and means can hardly be surpassed in audacity, impudence and shamelessness. The art of plagiarism begins at university when writing seminar papers and theses. The rutalization of academic honest practice is through sophistication, very deliberate and highly conscious procedures. Although plagiarism is a criminal offence, plagiarism methods are becoming more and more perfidious, even though correct citation has been taught to students for decades at all reputable institutes of German universities. There has been a massive shift from a culture of honesty to a “plagiarism unculture” or a “plagiarism culture”, with “double plagiarism” and “continued plagiarism”. Possible reasons for the culture of plagiarism are described, such as a lack of supervision and competence on the part of supervisors, peer reviewers, doctoral committees and faculties. Ultimately, the mores are so far down that plagiarism is not only of no interest to society, but also to the faculties. / Llamo al plagio 'cleptomanía del conocimiento' porque está a la orden del día y los modos y maneras difícilmente pueden ser superados en audacia, descaro y desvergüenza. El arte del plagio comienza en la universidad cuando se escriben trabajos de seminario y tesis. El embrutecimiento de la práctica de la honestidad académica se realiza mediante procedimientos sofisticados, muy deliberados y muy conscientes. Aunque el plagio es un delito penal, los métodos de plagio son cada vez más pérfidos, a pesar de que la citación correcta se enseña a los estudiantes desde hace décadas en todos los institutos reputados de las universidades alemanas. Se ha pasado de una cultura de la honestidad a una 'incultura del plagio' o a una 'cultura del plagio', con el 'doble plagio' y el 'plagio continuado'. Se describen las posibles razones de la cultura del plagio, como la falta de supervisión y competencia por parte de los supervisores, los revisores, los comités de doctorado y las facultades. Al final, las costumbres han bajado tanto que el plagio no sólo no interesa a la sociedad, sino tampoco a las facultades. / J’appelle le plagiat « kleptomanie du savoir » parce qu’il est à l’ordre du jour et que la manière dont il est commis ne peut guère être surpassée en termes d’audace, d’insolence et d’impudeur. L’art du plagiat commence dès les études, lors de la rédaction des travaux de séminaire et de fin d’études. La brutalisation de la pratique académique honnête est due à la sophistication, à des procédés très réfléchis et hautement conscients. Bien que le plagiat soit un délit, les méthodes de plagiat sont de plus en plus perfides, bien que la citation correcte soit enseignée aux étudiants depuis des décennies dans tous les instituts sérieux des universités allemandes. D’une culture de l’honnêteté, on est passé massivement à une « inculture du plagiat » ou à une « culture du plagiat », avec des « plagiats doubles » et des « plagiats continus ». Les raisons possibles de la culture du plagiat, comme le manque de surveillance et de compétence des directeurs de thèse, des experts, des commissions de promotion et des facultés, sont décrites. En fin de compte, les mœurs ont tellement baissé que le plagiat n’intéresse pas seulement la société, mais aussi les facultés.

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Thesis (M. Tech. (Design and Studio Art)) - Central University of Technology, Free State, 2014 / The Information Age has presented those in the discipline of photography with very many advantages. Digital photographers enjoy all the perquisites of convenience while still producing high-quality images. Lecturers find themselves the authorities of increasingly archaic knowledge in a perpetual race to keep up with technology. When inspiration becomes imitation and visual plagiarism occurs, lecturers may find themselves at a loss for taking action as content-based image retrieval systems, like Google™ Search by Image (SBI), have not yet been systematically tested for the detection of visual plagiarism. Currently there exists no efficacious method available to photography lecturers in higher education for detecting visual plagiarism. As such, the aim of this study is to ascertain the most effective uploading methods and precision of the Google™ SBI system which lecturers can use to establish a systematic workflow that will combat visual plagiarism in photography programmes. Images were selected from the Google™ Images database by means of random sampling and uploaded to Google™ SBI to determine if the system can match the images to their Internet source. Each of the images received a black and white conversion, a contrast adjustment and a hue shift to ascertain whether the system can also match altered images. Composite images were compiled to establish whether the system can detect images from the salient feature. Results were recorded and the precision values calculated to determine the system’s success rate and accuracy. The results were favourable and 93.25% of the adjusted images retrieved results with a precision value of 0.96. The composite images had a success rate of 80% when uploaded intact with no dissections and a perfect precision value of 1.00. Google™ SBI can successfully be used by the photography lecturer as a functional visual plagiarism detection system to match images unethically appropriated by students from the Internet.

The authors' rights nowadays concern every individual. They significantly influence the performing artists, who use authors' works to make their living. This thesis analyses the specific impact of the Czech legal regulations on the professional musicians, describes the competences of the collecting societies, refers to the difficulties due to differences in the legal regulations on the international scale and defines musical theme as a new term in the legal context. The thesis proves the advantage of potential use of this term in both Czech and international courts practise.

Este trabalho analisa a obra historiográfica de Alphonse de Beauchamp (1767-1832) a partir da qual examina as transformações ocorridas na maneira de escrever história no início do século XIX. Historiador orientado para o grande público, sua obra inscreve-se no contexto político restauracionista, em que se buscava reconstruir a memória da revolução francesa e legitimar os interesses monárquicos. Tal posicionamento político o levou a se interessar pela história da Monarquia portuguesa, e particularmente sobre o episódio da transferência da Corte para o Rio de Janeiro em 1808. A história do Brasil de Alphonse de Beauchamp deveria servir de contraponto ao destino das ex-colônias espanholas durante o processo de Independência nas primeiras duas décadas do século XIX. O historiador francês valeu-se, igualmente, dos historiadores da antiguidade, para escrever suas memórias sobre a França do seu tempo, assim como para reconstituir a história do Brasil. Contudo, os modelos da historiografia clássica já não supriam as exigências por novas maneiras de representar e narrar o passado, de tal forma que sua obra veio a ser confundida com a prática de plágio, caindo no descrédito dos historiadores e eruditos. / This dissertation investigates the work of historiography of Alphonse de Beauchamp (1767-1832) from which examines the transformations in the way of writing history in the early nineteenth century. Historian oriented to the general public, his work falls into the political restorationist, which sought to reconstruct the memory of the French Revolution and legitimate interests monarchists. This political stance led him to become interested in the history of the Portuguese monarchy, and particularly on the episode of the transfer of the Court to Rio de Janeiro in 1808. Brazil\'s history of Alphonse de Beauchamp should serve as a counterpoint to the fate of former Spanish colonies during the Independence on the first two decades of the nineteenth century. The French historian took advantage also of the historians of antiquity to write his memoirs about his time in France, as well as to reconstruct the history of Brazil. However, the models of classical historiography no longer meet the demands for new ways of representing and narrating the past, so that his work came to be confused with the practice of plagiarism, falling into disrepute by historians and scholars.

Esta tese indica as fontes textuais de Memória Histórica da Capitania de São Paulo e analisa os procedimentos de modificação textual operados por Manuel Cardoso de Abreu na adaptação dessas fontes para a elaboração de sua obra. A Memória Histórica, de Manuel Cardoso de Abreu, oficial maior da Secretaria da Capitania de São Paulo, é um manuscrito do século XVIII preservado no Arquivo do Estado de São Paulo, composto principalmente a partir de textos dos historiadores setecentistas Pedro Taques de Almeida Paes Leme História da Capitania de São Vicente; Notícia Histórica da Expulsão dos Jesuítas do Colégio de São Paulo e Nobiliarquia Paulistana Histórica e Genealógica e Frei Gaspar da Madre de Deus Memórias para a História da Capitania de São Vicente. Apesar da comprovação da reprodução integral de muitos trechos e parágrafos de tais obras, o manuscrito não se configura como uma cópia literal de suas fontes, uma vez que Manuel Cardoso interveio intencionalmente nos textos que lhe serviram de modelo para a construção de sua Memória, operando, para tanto, uma série de alterações, que deram origem a um novo texto. No início do século XX, depois da aquisição dessa obra pelo Arquivo do Estado, historiadores como Capistrano de Abreu e, especialmente, Afonso dEscragnolle Taunay, levantaram a questão da sua autenticidade, amparados nas noções de autoria e propriedade intelectual. Assim, a Memória Histórica foi julgada como um caso de plágio, sem que, contudo, houvesse uma discussão em torno da motivação e finalidade dessa apropriação textual, da relação desse texto com os seus textos-fonte e das práticas de escrita e de cópia à época. Este trabalho, que se fundamenta nos princípios teóricos e metodológicos da Crítica de Fontes, da Filologia e da Crítica Textual, parte da pesquisa, exame e colação das fontes da Memória Histórica, com o objetivo de estabelecer a categorização dos mecanismos de filtragem de tais fontes. Desse modo, objetiva-se identificar quais as modificações, voluntárias e involuntárias, operadas por Manuel Cardoso de Abreu no processo de elaboração de sua obra. / This work through the establishment of the sources used on the paper titled Memória Histórica da Capitania de São Paulo, seeks to analyze the textual transformation in the passage from one text to another. The Memória Histórica, of Manuel Cardoso de Abreu, higher official of the Secretariat of the Province of São Paulo, is an eighteenth century manuscript deposited in the Archive of the State of São Paulo, composed mainly of texts of the eighteenth century texts written by historians, as Pedro Taques de Almeida Paes Leme Leme História da Capitania de São Vicente; Notícia Histórica da Expulsão dos Jesuítas do Colégio de São Paulo e Nobiliarquia Paulistana Histórica e Genealógica and Frei Gaspar da Madre de Deus Memórias para a História da Capitania de São Vicente. Despite the confirmation of the full reproduction of many sections and paragraphs of such works, the manuscript is not configured as a literal copy of his sources, since Manuel Cardoso intentionally intervened in the texts which served as a model for the construction of his Memória, implementing to this end, a series of changes that gave rise to a new text. In the early twentieth century, after the acquisition of this works by the State Archives, historians as Capistrano de Abreu and, especially, Afonso dEscragnolle Taunay, raised the question of its authenticity, supported by the notions of authorship and intellectual property. As a consequence, Memória Histórica was judged as a case of plagiarism, without, however, a discussion on the motivation and purpose of textual appropriation, the relationship of that text with their sources and without consideration for writing and copying practices during the period when they were constructed, being held. So, based essentially on theoretical and methodological principles, such as Critical Sources, Philology and Textual Criticism, this research focuses on the examination and collation of the sources from Memória Histórica, and it searches to establish the categorization of filtering mechanisms for these sources, so that it is possible to reveal which variants of Manuel Cardoso de Abreu in the writing process of his work and to what extent was his was intentional intervention.