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| 1 |
ID:
151479
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| Summary/Abstract |
This paper analyzes two versions of a printed genealogy collated by the Hmub and Kam in Eastern Guizhou, who gave authority to claims of consanguine bonds. It focuses on how the main text of the genealogy and other intertextual practices can either attribute authority to the genealogies or undermine it. On the one hand, elite accounts of ancestors in the genealogies invent a strong ideology of consanguinity that directly contributes to the text’s authority. At the same time, however, the use of Chinese characters to represent the Hmub phonetic system coexists with the Hmub system of patronymy within the assemblage of the individual descendant names. In other words, Chinese characters represent nonpersonal phonetic symbols of the Hmub language. This in turn means that anonymous voices can emerge in other texts. The result is a shift in the nature of authorship from an overtly collective authority to a covertly diffused anonymity.
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| 2 |
ID:
153622
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Armed Forces & Society (AF&S) was founded in 1974 with the overall intention of creating an international arena for interdisciplinary approaches to the study of the military institution and the intersection of armed forces and their society. The present study is both a follow-up and an update of Morten Enders’s article “Authorship and Affiliation in Armed Forces & Society” covering 1,139 articles in the 41 volumes published from 1974 until 2015. The scope has been to look for the evolving trends on Authorship and Affiliation (A&A) within AF&S so as to say something about what AF&S has become over these years, as a consequence of whom the authors are and where they come from. Our findings suggest a developmental narrative of A&A in AF&S of a continuously higher author–article ratio, an increased female authorship ratio, and a wider range of disciplines from more continents, countries, and institutions, plus a trend of increased cross-national coauthorship.
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| 3 |
ID:
123770
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| 4 |
ID:
121832
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| Publication |
2013.
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| Summary/Abstract |
Much of Nigerian oral poetry, especially the musical genre, has been increasingly reduced to digital formats through the instrumentality of new media technologies. This transformation has, however, not been sufficiently acknowledged in oral literary researches and discourses. This alternative existence acquired by the oral forms manifests itself in digital technological modes like CDs, VCDs, DVDs, digital radio and television and the internet which assure them of longevity. This paper, therefore, engages Nigerian oral poetry and its inscription in digital processes using new media technologies. In particular, it negotiates the trajectory of transforming primary orality to secondary and tertiary orality through which oral performances like songs have acquired new modes of existence and meanings by way of recordings and digitalization using the new media. Many of these poetic forms have travelled through historical time to the postmodern moment as migrant metaphors and have become stored in digital forms thus making them new wine though preserved in the old wineskins of the poets and new media processes. Using an emergent generation of Nigerian popular poets and musical artistes, the paper problematizes the episteme of authorship. It interrogates the very idea of authorship in the contested and interstitial space of communal and individual authorship in the digital age where the term has undergone radical destabilisation. Who owns the oral forms, for instance? Is it the so-called anonymous composer in traditional society, the collector or recorder who mediates the creative process and becomes a surrogate agent, or the contemporary artist who is heir to this timeless tradition of oral intellection through performances that are digitalized and stored in retrieval systems, or is it a virtual community of authors, or a hybrid of all of these? The paper concludes that digital technologies are a means of preserving these oral forms and endowing them with vitality and enduring relevance to meet the immediacy and urgency of postmodern societal needs in Nigeria.
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| 5 |
ID:
081802
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| Publication |
Warriewood, Business & Professional Publishers, 2007.
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| Description |
x, 230p.Pbk
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| Standard Number |
9780582871816
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Copies: C:1/I:0,R:0,Q:0
Circulation
| Accession# | Call# | Current Location | Status | Policy | Location |
| 053482 | 808.0427/PET 053482 | Main | On Shelf | General | |
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| 6 |
ID:
153534
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| Summary/Abstract |
This article looks at a work by the Vietnamese-American artist Dinh Q Lê (b. 1968) that was installed at one of the world’s most important contemporary art events, the quinquennial exhibition dOCUMENTA (13) in Kassel, Germany in 2012. The work consisted of a series of drawings made by artists from North Vietnam who followed the guerrilla movement along the Ho Chi Minh trail, along with a film consisting of interviews with surviving artists and animations of the drawings. The work raises questions not only about authorship—as the featured artist is not the maker of the drawings—but about the role that art plays in writing and re-writing art history.
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| 7 |
ID:
142577
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The paper offers a proposition in which the notion of the 'ownership' of outer space is substituted for that of 'authorship'. The notion of authorship draws attention to the processes of critical thinking, re-contextualization and resistances to space technology that take place in social domains where no clear role exists either as audience or user of space technology. The proposition responds in part to interventions made by artists in recent years into the workplaces of space technologists and, incrementally, into the imaginaries that inform the kinds of activities that happen in space. Artistic processes expose the reception of space technology at an intimate scale where the agencies of the viewer to observe, absorb and rethink converge with the shaping of space technology via state mediation and space agency imperatives. The constituency of collective authorship to which space technologies are subject is revealed in unexpected ways through artistic intervention that suggests a reappraisal of some of the terms of reference guiding space policy.
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| 8 |
ID:
175709
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| Summary/Abstract |
Research on terrorism has long been criticized for its inability to overcome enduring methodological issues. These include an overreliance on secondary sources and the associated literature review methodology, a scarcity of statistical analyses, a tendency for authors to work alone rather than collaborate with colleagues, and the large number of one-time contributors to the field. However, the reviews that have brought these issues to light describe the field as it developed until 2007. This article investigates to what extent these issues have endured in the 2007–2016 period by constructing a database on all of the articles published in nine leading journals on terrorism (N = 3442). The results show that the use of primary data has increased considerably and is continuing to do so. Scholars have also begun to adapt a wider variety of data-gathering techniques, greatly diminishing the overreliance on literature reviews that was noted from the 1980s through to the early 2000s. These positive changes should not obscure enduring issues. Despite improvements, most scholars continue to work alone and most authors are one-time contributors. Overall, however, the field of terrorism studies appears to have made considerable steps towards addressing long-standing issues.
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| 9 |
ID:
153532
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| Summary/Abstract |
Until recently, the dominant interpretation of the concept of authorship in East and South East Asia held that in these regions there was no author—in the Western sense of the term—because authorship was communal and was determined by a layering of interpretations of classic texts through the process of commentary. This has allowed commentary on authorship in Asia to largely sidestep substantive critiques of the politics of authorship offered by Michel Foucault and Roland Barthes. While not refuting this interpretation, this article claims that the issue of authorship is considerably more complicated than this dominant interpretation might imply. In Vietnamese annals such as the Đại Việt Sữ Ký Toàn Thữ, commentators such as the literatus Ngô Sĩ Liên tried to assert their authorship by supplanting or refuting previous authors. In addition, the question of authorship in pre-modern Vietnam is often confused by the lack of a clear delineation between different languages and texts, which is why one can often find pre-modern texts interspersed with chữ Hán (classical Chinese), chữ Nôm (classical Vietnamese), quốc ngữ, and even Lao or Muong. These strategies of authorship changed in the late 19th and early 20th centuries. Drawing on the work of Naoki Sakai, Keith W Taylor, and OW Wolters and on materials from the annals, civil service examinations, and modern writings, this article argues that the concepts of authorship, individual subjectivity in language, and language differentiation all coincided with the rise of nationalism at the turn of the 20th century. Authorship and nationalism are then tied to the concept of the separation and translation of languages and cultures, which are in turn related to the need to configure a particularistic Vietnamese identity vis-a-vis a perceived “West.”
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