A SCHOLARLY BOOK REPOSITORY
These essays, illustrating cultural studies in action, are aggressively interdisciplinary and wide-ranging in topic and approach. Questions of collective and collaborative authorship in both contemporary and early modern contexts are addressed. Other topics include moral theory and authorship; copyright and the balance between competing interests of authors and the public; problems of international copyright; musical sampling and its impact on "fair use" doctrine; cinematic authorship; quotation and libel; alternative views of authorship as exemplified by nineteenth-century women's clubs and by the Renaissance commonplace book; authorship in relation to broadcast media and to the teaching of writing; and the material dimension of authorship as demonstrated by Milton's publishing contract.
Contributors. Rosemary J. Coombe, Margreta de Grazia, Marvin D'Lugo, John Feather, N. N. Feltes, Ann Ruggles Gere, Peter Jaszi, Gerhard Joseph, Peter Lindenbaum, Andrea A. Lunsford and Lisa Ede, Jeffrey A. Masten, Thomas Pfau, Monroe E. Price and Malla Pollack, Mark Rose, Marlon B. Ross, David Sanjek, Thomas Streeter, Jim Swan, Max W. Thomas, Martha Woodmansee, Alfred C. Yen
In the first part of the book, Lipson outlines three core principles of academic honesty and explores how these principles inform all aspects of college work. He discusses plagiarism in detail, outlining an ingenious note-taking system and offering guidelines for quoting and paraphrasing. Careful attention is paid to online research, including the perils of "dragging and dropping" text without proper citation. These chapters include numerous tips, all highlighted for students, on how to work honestly and study effectively.
The second part of the book gives a full account of citation styles in the humanities, social sciences, and physical and biological sciences, as well as in pre-professional studies. Filled with examples, these chapters show students exactly how to cite books, journals, edited volumes, Web sites, online publications, and much more—in every citation style imaginable.
By clearly communicating the basic principles of academic honesty and exploring these principles in action, Doing Honest Work in College promotes genuine learning and academic success. This must-have reference empowers faculty and students to address questions about academic honesty before problems arise. It will be the book students turn to for advice from their first class to their final exam.
For this second edition, Charles Lipson has updated hundreds of examples and included many new media sources. There is now a full chapter on how to take good notes and use them properly in papers and assignments. The extensive list of citation styles incorporates guidelines from the American Anthropological Association. The result is the definitive resource on academic integrity that students can use every day.
“Georgetown’s entering class will discover that we actually have given them what we expect will be a very useful book, Doing Honest Work in College. It will be one of the first things students see on their residence hall desks when they move in, and we hope they will realize how important the topic is.”—James J. O’Donnell, Provost, Georgetown University
“A useful book to keep on your reference shelf.”—Bonita L. Wilcox, English Leadership Quarterly
How did he do it?
Migne harnessed a deep well of personal energy and a will of iron to the latest innovations in print technology, advertising, and merchandising. His assembly-line production and innovative marketing of the massive editions of the Church Fathers placed him at the forefront of France's new commerce. Characterized by the police as one of the great "schemers" of the century, this priest-entrepreneur put the most questionable of business practices in the service of his devotion to Catholicism.
Part detective novel, part morality tale, Bloch's narrative not only will interest scholars of nineteenth-century French intellectual history but will appeal also to general readers interested in the history of publishing or just a good historical yarn.
"An unforgettable, Daumier-like portrait, sharp and satirical, of this enterprising, austere and somewhat crazed merchandiser of sacred learning. . . . Bloch deserves great credit for the wit and style of his effort to explore the Pedantic Park of nineteenth-century learning, that island of monsters which scholars have found, as yet, no escape."—Anthony Grafton, New Republic
"Bloch is an exhilarating guide to the methods which made Migne the Napoleon of the Prospectus, a publicist of genius, Buffalo Bill and P.T. Barnum rolled into one."—David Coward, Times Literary Supplement
"Mercifully, Bloch's sense of humour has none of that condescending mock-bewilderment commonly applied to the foreign or ancient. . . . It enables Bloch to promote Migne as a forerunner of the department store and to place him on a continuum running from St. Paul to the Tupperware party: the quality of the merchandise is increasingly irrelevant, still more the nature of its contents."—Graham Robb, London Review of Books
"At long last, a discussion of plagiarism that doesn't stop at 'Don't do it or else,' but does full justice to the intellectual interest of the topic!"
---Gerald Graff, author of Clueless in Academe and 2008 President, Modern Language Association
This collection is a timely intervention in national debates about what constitutes original or plagiarized writing in the digital age. Somewhat ironically, the Internet makes it both easier to copy and easier to detect copying. The essays in this volume explore the complex issues of originality, imitation, and plagiarism, particularly as they concern students, scholars, professional writers, and readers, while also addressing a range of related issues, including copyright conventions and the ownership of original work, the appropriate dissemination of innovative ideas, and the authority and role of the writer/author. Throughout these essays, the contributors grapple with their desire to encourage and maintain free access to copyrighted material for noncommercial purposes while also respecting the reasonable desires of authors to maintain control over their own work.
Both novice and experienced teachers of writing will learn from the contributors' practical suggestions about how to fashion unique assignments, teach about proper attribution, and increase students' involvement in their own writing. This is an anthology for anyone interested in how scholars and students can navigate the sea of intellectual information that characterizes the digital/information age.
"Eisner and Vicinus have put together an impressive cast of contributors who cut through the war on plagiarism to examine key specificities that often get blurred by the rhetoric of slogans. It will be required reading not only for those concerned with plagiarism, but for the many more who think about what it means to be an author, a student, a scientist, or anyone who negotiates and renegotiates the meaning of originality and imitation in collaborative and information-intensive settings."
---Mario Biagioli, Professor of the History of Science, Harvard University, and coeditor of Scientific Authorship: Credit and Intellectual Property in Science
"This is an important collection that addresses issues of great significance to teachers, to students, and to scholars across several disciplines. . . . These essays tackle their topics head-on in ways that are both accessible and provocative."
---Andrea Lunsford, Louise Hewlett Nixon Professor of English, Claude and Louise Rosenberg Jr. Fellow, and Director of the Program in Writing and Rhetoric at Stanford University and coauthor of Singular Texts/Plural Authors: Perspectives on Collaborative Writing
digitalculturebooks is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.
Less a research report than a conversation, the book offers a wide range of ideas, and the chapters here will provoke discussion on scholarly practice relating to intellectual property, plagiarism, and authorship---and to how these matters are conveyed to students. Although these authors find a good deal of consensus in regard to the ethical issues of plagiarism, they document a surprising variety of practice on the subject of what ownership looks like from one discipline to another. And they discover that students are not often instructed in the conventions of their major field.
In January 1992, poet Neal Bowers received a phone call that changed his life. He learned his poems had been stolen and published under another name. Bowers hired a copyright lawyer and a private detective, and they began the agonizing hunt to track down the person who stole his creative work.
Bowers was dealing with more than the theft of words. He uncovered the plagiarist’s unsavory past when he found convicted child molester David Jones, who published the poems using the name David Sumner.
Determined to hold the plagiarist accountable, Bowers is drawn into a bizarre game of catch-me-if-you-can. His odyssey introduces him to the legal system and a sympathetic female detective, reveals the reactions of fellow poets, and provokes a flood of nationwide publicity and a deluge of letters from strangers interested in the case. Letters from Bowers’s attorney to Jones and phone conversations between the two produce unsatisfactory results. In the end, the plagiarist is not punished, and Bowers deals with the loss of friends, derision from his colleagues, and trouble in his marriage.
Words for the Taking: The Hunt for a Plagiarist, first published in 1997, is as much a commentary on our cultural view of plagiarism as it is a real-life detective story. Bowers’s wry and disturbing account of being the victim of a serial plagiarist offers unexpected twists and startling revelations. This updated edition presents a final consideration of the bizarre case and remains the only book to offer a personal account of the effects of plagiarism.
Ten years after the original publication, Neal Bowers finds his life as a writer altered in ways he could never have foreseen. His responses to the series of events show his vulnerability as an artist and his adjustment to being a victim. In a new chapter, Bowers describes his renewed quest in 2006 for a resolution and explains why he chose to give up writing poetry.
This beautifully written case study about the discovery and attempted resolution of an intellectual crime will appeal to academicians and general readers alike who care about language, the state of poetry, and intellectual property in contemporary America.
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