Self-plagiarism, textual recycling and redundancy seemed to be controversial and unethical; however some questions about its definition are still open. The objective in this paper presented study was to use bibliometric analysis to synthesise and visualize the research literature production and derive a typology of self-plagiarism research. Five topics emerged: Self-plagiarism, Institutional self-plagiarism, Self-plagiarism and ICT, Self-plagiarism in academic writing, Self-plagiarism in science. The state of the art topics seem to be “social medium”, (...) “virtual world”, “face book”, “sociomateriality”, “knowledge sharing”, “open access”, “institutional repository”, “retraction” and “responsible conduct”. (shrink)

As plagiarism is a notion specific to a particular culture and epoch, and is also understood in a variety of ways by individuals, particular attention must be paid to the putting of the phenomenological question, What is plagiarism in its appearing? Resolution of this issue leads us to locate students' perceptions and opinions within the lifeworld, and to seek an initially idiographic set of descriptions. Of twelve interview analyses, three are presented. A student who took an especially anxious (...) line, his morality having to do with the fear of being shamed were he to be accused of plagiarism in his work. A student who saw academic development as the movement from dependence on respected authors such that the novice's work is near plagiaristic, to autonomy and self-assured originality. A student whose degree involved painting and art history—disciplines with very distinct understandings of plagiarism. To combat plagiarism, then, one must not assume that students have a prior grasp of the unequivocal meaning of the notion, but must accept that a process of acculturation is required. (shrink)

A survey conducted in 2023 surveyed 3,017 high school and college students. It found that almost one-third of them confessed to using ChatGPT for assistance with their homework. The rise of Large Language Models (LLMs) such as ChatGPT and Gemini has led to a surge in academic misconduct. Students can now complete their assignments and exams just by asking an LLM for solutions to the given problem, without putting in the effort required for learning. And, what is more worrying, educators (...) do not have the proper tools to detect it. The more advanced AI tools become, the more human-like text they generate, and the more difficult they are to detect. Additionally, some educators find it difficult to adapt their teaching and assessment methods to avoid plagiarism. This paper is focused on how LLMs and AI-Generated Content (AIGC) have affected education. It first shows the relationship between LLMs and academic dishonesty. Then, it reviews state-of-the-art solutions for preventing academic plagiarism in detail, including a survey of the main datasets, algorithms, tools, and evasion strategies for plagiarism detection. Lastly, it identifies gaps in existing solutions and presents potential long-term solutions based on AI tools and educational approaches to address plagiarism in an ever-changing world. (shrink)

FORGERY and PLAGIARISM are both forms of fraud. In committing art forgery I claim my work is by another person. As a plagiarist, I claim another person’s work is my own. In forgery, someone’s name is stolen in order to add value to the wrong work; in plagiarism someone’s work is stolen in order to give credit to the wrong author.

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

A work of Vietnamese art crossed a million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity from the Vietnamese art amidst the many existing problems. Even though the Vietnamese media has discussed the issues enthusiastically, there is a lack of literature from the Vietnamese academics examining the subject, and even rarer in from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market, and (...) hesitantly the Vietnamese art as well, through the lens of fake, forgery and copy artworks. 35 cases of fake, forgery and copy paintings were found on the news and from the experts' wisdom. Through the examples, we argue that the Vietnamese art market is a temporary reaction to the immaturely rising of the Vietnamese art and the economy. Therefore, the art market is unable to function healthily unless the Vietnamese art and the economy developed. (shrink)

The rapid development of the Internet has granted college students easy access to vast amount of online resources, and to some degree has increased the chances of plagiarism problems. A number of studies have suggested that both faculty’s and students’ perceptions toward plagiarism are found to be influential on students’ plagiarizing behaviors, and limited research has been done to explore the perceptional differences between these two roles. This study aims to respond to the growing educational concerns about (...) class='Hi'>plagiarism by comparing the perceptions held by faculty and college students. A total of 229 faculty and 634 college students in Taiwan completed the Perceptions of Student Plagiarism Questionnaire designed for the study. The results reveal that faculty held stricter standards than those of students. Results also indicate various causes of plagiarism, such as no interest in the learning subjects, lack of citation knowledge, or lack of research ability. Furthermore, significant disciplinary differences were shown to contribute to students’ plagiarism perception; the results reveal that most students with an Arts or Communication major held a relatively adverse thinking toward plagiarism. Last, this study provides research-based strategies for school and faculty to reduce the likelihood of plagiarism. (shrink)

Much of the current literature on plagiarism focuses on students, attempting to understand how students view the concept of plagiarism, the best ways to prevent it, and the impact of collaboration on the concept of original authorship. In this article, we look at the role of plagiarism in 761 conference abstracts written by graduate students, early- to late-career faculty, and industry representatives, representing institutions from nearly 70 countries. These abstracts were submitted for participation in an international conference (...) focused on the liberal arts hosted by our institution over the past four years. This study analyzes the corpus for patterns of plagiarism among professional academic writers. Our findings indicate that, while other demographic categories were not consistent indicators of text-matching, full professors were the most prevalent group to produce self-plagiarized abstracts. Overall, our study illuminates the significance of power dynamics in conferences’ efforts to maintain academic integrity. (shrink)

Award-winning poet and critic Kevin Young traces the history of the hoax as a peculiarly American phenomenon--the legacy of P.T. Barnum's 'humbug' culminating with the currency of Donald J. Trump's 'fake news'. Disturbingly, Young finds that fakery is woven from stereotype and suspicion, with race being the most insidious American hoax of all. He chronicles how Barnum came to fame by displaying figures like Joice Heth, a black woman whom he pretended was the 161-year-old nursemaid to George Washington, and 'What (...) Is It?', an African American man Barnum professed was a newly discovered missing link in evolution. Bunk then turns to the hoaxing of history and the ways that forgers, plagiarists, and journalistic fakers invent backstories and falsehoods to sell us lies about themselves and about the world in our own time, from pretend Native Americans like Nasdijj to the deadly imposture of Clark Rockefeller, from the made-up memoirs of James Frey to the identity theft of Rachel Dolezal. This brilliant and timely work asks what it means to live in a post-factual world of 'truthiness' where everything is up for interpretation and everyone is subject to a pervasive cynicism that damages our ideas of reality, fact, and art."--Dust jacket flap. (shrink)

Berichte zur Wissenschaftsgeschichte, EarlyView.

This is a review of the film Big Eyes. Adapted from a true story about artist Margaret Keane, the overarching theme of the movie is plagiarism. While most people think of written works such as books and articles being plagiarized, Big Eyes gives viewers insight into the world of stolen works of visual art, namely paintings. The victim finds moral courage through religion, while the thief lives in denial until death. Anyone with an interest in art, law, or psychiatry (...) will enjoy what Big Eyes has to offer. (shrink)

This is a review of the 2013 film Words and Pictures. Surprisingly, the film is not about justifying a role for the humanities in education but, rather, a battle to determine which is more valuable—literature or art?. At a time when many schools question if these have any value at all, this film uses passionate and afflicted teachers to explore which is most important and finds valuable intersections between the two.

Education in the responsible conduct of research typically takes the form of online instructions about rules, regulations, and policies. Research Ethics takes a novel approach and emphasizes the art of philosophical decision-making. Part A introduces egoism and explains that it is in the individual's own interest to avoid misconduct, fabrication of data, plagiarism and bias. Part B explains contractualism and covers issues of authorship, peer review and responsible use of statistics. Part C introduces moral rights as the basis of (...) informed consent, the use of humans in research, mentoring, intellectual property and conflicts of interests. Part D uses two-level utilitarianism to explore the possibilities and limits of the experimental use of animals, duties to the environment and future generations, and the social responsibilities of researchers. This book brings a fresh perspective to research ethics and will engage the moral imaginations of graduate students in all disciplines. (shrink)

: Indexes are among the important resources for studies on the Qur'ān. Owing to such works, it is possible to find easily whether a word belong to Qur'ān and in which verses or how it is used. Such works of arts, whose early examples are given by Muslim scientists, later written by orientalists and thus gave its first work of art with the help of a German Orientalist Gustavus Flügel. His accommodation of Qur'ān index blazed a trail in this field (...) and later, it became a resource to those work written by Muslims. Yahya Hilmi Kastamonī who was one of the late Ottoman Era scholar never mentioned from Flügel and his work in his work named Misbāh al-Ihvān. In this article, after introduction of the work of these two authors, two works are compared in terms of obvious mistakes. The aim is to determine whether the work of Kastamonī is original or not. Summary: The scope of this work consists of the comparison of two "index" type of works. It's obvious that indexes are the most essential source in the Qur'ān based researches. The aim of these kinds of works is both to enable researchers to reach verses of the Qur'ān and to show those concepts where and how it is displayed in the Qur'ān. Thus, both effort and time loss will be prevented. Together with knowing that the first Qur'an indexes were prepared by Muslim authors, it's not clear which one is the first. The work called Tertību zībā by Ottoman theologian Muhammed al-Vardarī is considered as one of the first indexes in the field. The author organised this work by putting the very first words of verses of the Qur'ān in an alphabetic order in Turkish so as to reach the intended verse of the Qur’ān easily. The efforts for writing indexes continued later on, by taking his work as an example, the number has extended hastily with writing other works up to now. On the other hand; besides Muslims, we can see that the orientalists has involved in carrying out index preparations. For the first time, Gustavus Flügel wrote a Qur'ān index, originally named as Concordanticae Corani Arabicae, and named as Nücūm al furkān fī atrāf al-Qur'ān in Arabic so that Muslims may benefit from it. It's obvious that Flügel's work which was prepared orienting to find Qur'ānic words has influenced Muslim index authors. After Concordanticae Corani Arabicae written, the number of the works alike in Islamic world has extended vastly. One of such works is the work of art of Kastamonī Yahiya Hilmi's Misbāh al-ihvān li tahharī āyāt al-Qur'ān written in 1322/1906. Although in those works which was written after Flügel's index, the authors credited Flügel and his Concordanticae Corani Arabicae, Kastamonī, being the topic of the article in this work as well, didn't credit him and his index. The situation grasped our attention and caused us to focus on these two works. On this point, Concordanticae Corani Arabicae pioneering in index writing and Misbāh al-ihvān carefully investigated and later compared to one another. In the next step, the aspects that both index have in common and different have been tried to detect. Thus, the originality of Kastamonī's work was questioned. Flügel made undeniable errors on the point of detecting the origin of 39 words while sorting out words of the Qur'ān alphabetically. These errors he made clears outs obviously the authors being incapable of Arabic grammar and not having a grasp of the meaning of the Qur'ānic words. Another failure Flügel made was despite arranging words in a letter order, in some places he didn't pay attention. Besides, the verse of the Qur'ān numbers doesn't fit with those numbers Muslims take as a basis from copy of the Qur'ān we have today. Kastamonī, whose life we don't have any information, made mistakes in detecting 39 origins of the words in the Qur'ān in his index just like Flügel. Besides, the numbers he gave to the verses of Quran and the ones in the copy of the Qur'ān that Muslims use doesn't correspond. Another mistake Kastamonī made in Misbāh is despite putting words in an alphabetic order, he didn't pay attention in some places. Like this, the data received from investigation of both authors compared to one another and eventually some results came across. According to this, it's clearly seen that the error Kastamonī and Flügel made upon detecting the origin of the 39 words are the same. On the other hand, the numbers both author gave to verses of the Qur'ān in their works correspond with one another. Also, Kastamonī repeated the same errors Flügel did in the alphabetical order of the words. As a result of all the comparisons, it's detected that Misbāh al-ihvān is the same of Concordanticae Corani Arabicae. This similarity is not a mere coincidence. As it's understood from the result, Kastamonī plagiarised Flügel's index and wrote it by crediting himself. Continuity and depending on sources is a very important aspect on academic studies. To do that, all academic works must be based on previous efforts. For any reason, if this doesn't happen, works lose their scientific base and became unreliable. As a result, scientific ethic will be neglected and violated and so the field of study will be in harm's way. The major reason that prevents obeying those codes, which creates the orient of academic study, of continuity and reliability is the academic theft called plagiarism. Plagiarism which is defined as showing ones thoughts, works and writings as his/her own without giving proper credit to source in any portion by another author is an enormous ethic problem. The activity of interchanging an author work which was put together with great effort without giving any proper credit is the further step of the plagiarism. It's clearly understood that Kastamonī has fallen the same mistake. At the end of research, it's revealed that Kastamonī didn't compile a work of art. However, he deceived the scientific community by taking the work at issue to himself in his preliminary and disdain the ethical rules in academic studies. As a result, this study aims to raise an awareness upon the necessity of reading the works that resembles one another by comparing right or wrong sides when evaluating those works. if this is done, the originality of works, their relationship, similarities and differences will both be seen clearly and be evaluated wholesomely. (shrink)

Paul Goguen once said that art is either plagiarism or revolution. That is certainly true of music. From pop to jazz to classical music, there’s a long history of borrowing, lifting, and stealing from other composers, along with other ways of building on their artistic contributions. Here I try to put some order in the complex picture that emerges from such a history, with an eye to the criteria—if any—that underlie the complex ways in which we compare, identify, and (...) categorize musical works. (shrink)

Since it is only natural that lovers of a great poet's work should seek to defend their favourite from the charge of plagiarism, most of the scholars who have discussed the problem of the relationship between the Medeas of Neophron and Euripides have, whether consciously or unconsciously, approached their task in no very impartial spirit. Yet the prejudice against acknowledging Euripides' indebtedness to his predecessor is an unreasonable one, for a great tragedy or a great work of art of (...) any kind must be aesthetically judged without regard to its forerunners. For instance, we do not think any the worse of Antony and Cleopatra or of its author when we notice that ‘The barge she sat in, like a burnish'd throne’, etc., and many other fine passages in that play are taken almost verbatim from Sir Thomas North. If we bear in mind then that whatever the result of our inquiry it will not affect adversely the reputation of Euripides' great work, we cannot fail to be impressed by the tenuous nature of the arguments by which scholars have convinced themselves of the chronological priority of Euripides' Medea as against Neophron's. (shrink)

FREE to download my New Book . https://www.academia.edu/31495642/_Meta-Philosophy_Meta-Cognition_and_Critique_of_Doing_Philosophizi ng am in the top 0.5% of Academic Publications on Academia.Edu and belong to a group of Academic giving our work for FREE as Commercial Publishers change too much for books. My new book is HERE for download: https://www.academia.edu/31495642/_Meta-Philosophy_Meta-Cognition_and_Critique_of_Doing_Philosophizi ng Abstract So far in my books and articles I have dealt with the following‭ (‬I hope I do not commit self-plagiarism by referring to my previous work and ideas expressed therein‭! ‬Lol‭)‬: -/- My (...) own discussions or‭ ‘‬philosophizing‭’ ‬follow right at the end after the numerous and very lengthy quotes from philosophers.‭ ‬The nature of the subject-matter of philosophy,‭ ‬the methodology,‭ ‬methods,‭ ‬techniques and tools of doing philosophy or philosophizing,‭ ‬the nature of the different steps or stages of the process/es of theorizing,‭ ‬the fact that doing philosophy are some of the stages of theorizing,‭ ‬the fact that philosophers lack meta-cognition and/or meta-reflection of these things.‭ ‬If they had awareness of what and how they are doing philosophy they might not become involved in quibbling over concepts and the differentiations of these concepts.‭ ‬It is as if philosophers are blind to what they are doing and have been doing for thousands of years,‭ ‬with the result that they continue repeating the same thing‭ – ‬arguing with words over the use of words and in the process creating more and more‭ –‬isms.‭ ‬They are seemingly unable to escape from such‭ –‬isms and their implications.‭ ‬Instead of getting or going anywhere they way they conceive‭ (‬of‭) ‬problems and express their questions they end up with conceiving of notions that cannot be solved or dissolved.‭ ‬They enclose themselves in an insular world or bubble of their own making,‭ ‬compared to sciences investigating humans and the different features and systems of the human body who find irrelevant the problems that philosophers have with things such as the brain,‭ ‬cognition,‭ ‬mind,‭ ‬consciousness,‭ ‬perception,‭ ‬thinking,‭ ‬etc.‭ ‬Sciences deal with these things on many levels and multi-dimensional while philosophers try to restrict them to a single level in one dimension by their words and the way they use those words.‭ ‬Consequently they lose sight of their objects and are unable to question them or express questions about them in a meaningful manner. -/- In my articles and books on the subject-matter I dealt with the traditional branches of philosophy and that with the differentiation of other disciplines and discourses the discourse of philosophy lost subject-matter.‭ ‬I mentioned newer areas of‭ ‘‬philosophy‭’‬,‭ ‬such as X-Phi,‭ ‬Philosophy’s interdisciplinary involvement in for example cognitive sciences,‭ ‬that there exists a philosophy of every discipline possible‭ (‬eg philosophy of science,‭ ‬art,‭ ‬music,‭ ‬sport,‭ ‬social sciences,‭ ‬etc‭)‬,‭ ‬that discourses such as Logic,‭ ‬Critical Thinking,‭ ‬Argumentation and argument maps,‭ ‬Reasoning,‭ ‬etc are relevant to and employed by many if not all disciplines and many discourses and are not uniquely subject-matter of the discourse of philosophy and does not have to form part of or be taught as subject-matter of philosophy. -/- I identified and discussed the methodology,‭ ‬methods,‭ ‬techniques and tools of doing philosophy and some underlying or implicit transcendentals such as pre-suppositions,‭ ‬suppositions and assumptions.‭ ‬I explore the nature of the different features,‭ ‬aspects,‭ ‬characteristics,‭ ‬steps and stages of the processes of theorizing.‭ ‬I showed that doing philosophy or philosophizing employ and/or consist of some of these features,‭ ‬steps and stages of theorizing. -/- As I involuntary have‭ (‬am‭)‬,‭ ‬seemingly endless‭ (‬a stream of consciousness like‭) ‬philosophically-‭ (‬question or problem and insight‭) ‬related‭ ‘‬intuitions‭’‬,‭ ‬it is difficult,‭ ‬painful and frustrating to me for that to be interrupted by social interaction,‭ ‬talking to people,‭ ‬phones,‭ ‬executing all sorts of‭ ‬mundane activities,‭ ‬etc.‭ ‬To understand or cope with this‭ ‘‬mental state‭’ ‬is one of the reasons why I need to explore meta-cognition or thinking about thinking,‭ ‬especially one’s own thinking and related‭ ‘‬activities‭’‬. (shrink)

Contemporary aesthetics, reaching the remotest limits of theory in its determined endeavours to embrace new artistic phenomena, often questions the very idea of beauty. According to Christian Enzensberger, however, all attempts at such questioning are doomed to failure. Beauty, as he claims, seems to be timeless. Still, beauty in contemporary art has its faults and, among others, it is accused of being something else that it purports to be. There is ample evidence to support this view: comparisons between the illusory (...) beauty with rich terminology borrowed from aesthetic pluralism; failed attempts at redefining beauty, its false comebacks under the guise of plagiarism and quotations, and, finally, it is more than obvious that beauty is being confused with other phenomena, not necessarily of aesthetic or artistic nature. Writers who would be able to persuasively combine the philosophy of beauty with modern and contemporary art are in great scarcity. Hans G. Gadamer and Odo Marquard can be counted as the rare exceptions. They refrain from offering subjective redefinitions of beauty, but instead they re-evaluate the concept of beauty in keeping with the tradition of aesthetics. (shrink)

The arrival of image-making generative artificial intelligence (AI) programs has been met with a broad rebuke: to many, it feels inherently wrong to regard images made using generative AI programs as artworks. I am skeptical of this sentiment, and in what follows I aim to demonstrate why. I suspect AI generated images can be considered artworks; more specifically, that generative AI programs are, in many cases, just another tool artists can use to realize their creative intent. I begin with an (...) overview of how generative AI programs, like OpenAI’s DALL-E 2, work. Then, leveraging work by Claire Anscomb, I argue that generative AI programs are a new technique of automatic image-making that affords creative agency to its users, thereby qualifying the images they create as artworks. Finally, I show many of the objections brought against AI artworks—including accusations of plagiarism and artistic devaluation—are due to the social backdrop in which we currently find them, rather than the technology itself. In the end, I aim to open the door to further aesthetic debate concerning AI generated images and art. (shrink)

When we look up a word in a dictionary, we want to know not just its meaning but also its function and the circumstances under which it should be used in preference to words of similar meaning. Standard dictionaries do not address such matters, treating each word in isolation. R. M. W. Dixon puts forward a new approach to lexicography that involves grouping words into 'semantic sets', to describe what can and cannot be said, and providing explanations for this. He (...) provides a critical survey of the evolution of English lexicography from the earliest times, showing how Samuel Johnson's classic treatment has been amended in only minor ways. Written in an easy and accessible style, the book focuses on the rampant plagiarism between lexicographers, on ways of comparing meanings of words, and on the need to link lexicon with grammar. Dixon tells an engrossing story that puts forward a vision for the future. (shrink)

This paper shares results from a pedagogical experiment that assigns undergraduates to “cheat” on a final class essay by requiring their use of text-generating AI software. For this assignment, students harvested content from an installation of GPT-2, then wove that content into their final essay. At the end, students offered a “revealed” version of the essay as well as their own reflections on the experiment. In this assignment, students were specifically asked to confront the oncoming availability of AI as a (...) writing tool. What are the ethics of using AI this way? What counts as plagiarism? What are the conditions, if any, we should place on AI assistance for student writing? And how might working with AI change the way we think about writing, authenticity, and creativity? While students (and sometimes GPT-2) offered thoughtful reflections on these initial questions, actually composing with GPT-2 opened their perspectives more broadly on the ethics and practice of writing with AI. In this paper, I share how students experienced those issues, connect their insights to broader conversations in the humanities about writing and communication, and explain their relevance for the ethical use and evaluation of language models. (shrink)

The ethics of citation has attracted increased attention in recent discussions of research and publication ethics, fraud and plagiarism. Little attempt has been made, however, to situate specific citation misbehaviors in terms of broader ethical practices and principles. To investigate researchers’ perceptions of citation norms, we surveyed active US researchers receiving federal funding from the National Institutes of Health (NIH), the National Science Foundation (NSF), and the National Endowment for the Humanities (NEH). Participants (n = 257) were asked about (...) citation norms they endorse (norm reports), the behaviors they perceive others to engage in (peer reports), and their own citation behaviors (self-reports). Our analyses showed that while considerable discrepancies exist between norm reports, peer reports and self-reports, respondents’ discipline has no significant effect on these. Participants indicated that their own practices and that of their peers falls short of the norms they endorse, but that their own behavior is much less ethically deficient than that of their peers. An exploratory factor analysis revealed that ethically questionable citation behaviors could be grouped usefully into three categories: strategic citations, neglectful citations, and blind citations. Contrary to our hypothesis, the survey showed that greater experience does not always result in better citation practices. A particularly divisive issue pertained to intentionally citing authors from underrepresented demographic groups for reasons of social justice, but broad support for this practice is lacking, although arts and humanities scholars are slightly more supportive. Most researchers view questionable citation practices as negatively affecting their disciplines. Our findings suggest the need for clearer articulations of the citation norms and improved guidance and training about citations. (shrink)

This paper delves into the nature of intellectual property rights in aesthetic creations, particularly works of visual art and literary works. The discussion focuses on copyrights interests, but there are also implications for trademark and patent rights. The argument assumes a fairly conventional definition of "property," namely, the set of legal relations between the owner and all other persons relating to the use, enjoyment and disposition of a tangible thing. The problem with such a definition as applied to aesthetic creations (...) is that no ordinary tangible thing necessarily embodies a creation which can exist in multiple copies, so the paper takes the transcendent view that the tangible thing subject to legal relations is the entire terra firma or material universe being shaped in the image, sounds or words of the aesthetic creation. Therefore, the paradigm suggested for intellectual property is a monopoly on shaping the entire physical universe, thus the Worldmaking concept. It then follows that intellectual property in an aesthetic creation enables the owner to stop plagiarists from using any part of the material world to recreate in the audience the imaginative experiences first created by the protected work. (shrink)

In philosophical literature, the complex emotional state of ressentiment gained popularity through the writings of Friedrich Nietzsche. According to Nietzsche, ressentiment was a bad feeling that reflected the suppressed anger, the pain of impotence, and the general misery of the weak when they compared themselves to the strong and talented members of society. Max Scheler took up Nietzsche’s thesis and described ressentiment as a complex condition characterised by a thirst for revenge. Moreover, ressentiment has the annoying property of presenting itself (...) as having some merit: the modern social and political context offers more than enough examples. First, the aim of this article is to take a closer look at Nietzsche’s ‘man of ressentiment,’ an odious personality characterised by weakness, deep frustrations, and hypocrisy. It will turn out that ressentiment has many different shades that paint a somewhat different picture and raise philosophical questions about positive valuation, vulnerability, and the sense of injustice. Second, we shall be working on the link between the psychology of ressentiment and the temptation to lack integrity in writing, art, or science. The well-described and well-known fact that academic fraudsters evolve in disguise, that they first reactively endorse values very different from their own values, and that these plagiarist authors, second, embark on long-term projects repeating their misdeeds and errors, as if it were normal, are two facts worthy of our attention. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.3 (2003) 409-410 [Access article in PDF] Christoph Riedweg. Pythagoras: Leben, Lehre, Nachwirkung. Munich: Beck, 2002. Pp. 206. Cloth, € 19.90.Another book about Pythagoras? Hasn't it been shown that we do not have any precise information about him, especially about his contributions as a scholar and a philosopher? Maybe we have been overly skeptical about the information transmitted about Pythagoras. In Pythagoras: Leben, (...) Lehre, Nachwirkung, Christoph Riedweg suggests we should take a different perspective, and he shows what we might gain if we loosen our standards on what counts as information about Pythagoras's contribution to the history of philosophy and science. We can reconstruct a cluster of ideas, motifs, and motivations relevant for early Pythagoreanism. This will give us an idea of the factors influencing Pythagoras and those influenced in turn by him. Even if we will not know what exactly he claimed or achieved (whether he did or did not use the Pythagorean psephoi, for example), we can still get a reasonably informative (if somewhat fuzzy) picture of Pythagoras's contribution and his significance. Riedweg's book outlines the terrain for such an approach. It is what it announces to be: an introduction (Einführung). It does not promise, nor does it offer, any radically new theories on Pythagoras.I will focus on chapters 2 and 3 (61-149) of the book. After a survey of ancient reports and legends about Pythagoras (chapter 1), Riedweg approaches the historical Pythagoras through a sketch of the cultural setting in which he lived and worked, and through the reactions of his contemporaries and near contemporaries (chapter 2, sections 1-2). Unfortunately, a reference to the socio-political sphere is missing. This is a serious gap, given the poignancy of the socio-political changes in the sixth-century Ionian poleis, and given Pythagoras's cooperation with the local aristocratic elites, for political purposes. One is, however, provided with a sketch of the contemporary cultural setting in which Pythagoras put forth his religious and his philosophical teachings—philosophy, art, technology, contacts (chapter 2, section 1). Apparently (Riedweg documents this conclusively), Pythagoras provoked extreme reactions from the very beginning, even from people that lived far away. Riedweg's label "Charismatiker"—a borrowing from Weberian sociology of religion—seems fitting. The sixth- and fifth-century "outside" testimonies (chapter 2, section 2) are predominantly polemical. In the religious sphere, Pythagoras comes across as a mystic, with a guru-attitude. But he also constructed a sophia, using the writings and ideas of others. The contents of this sophia remain unclear. The witnesses accuse Pythagoras of foul trickery and plagiarism. Nevertheless, he must have produced some sort of systematic explanatory account of the world, its origin and its meaning. From the very beginning, both the "guru" and the "scholar" aspect are thus attested for Pythagoras. The content of the religious teachings is much more concrete than the content of Pythagoras's own philosophical and scientific doctrines. This trend continues as Riedweg examines later sources for the reconstruction of Pythagoras's ideas (chapter 2, section 3). As is already known, we get a relatively accurate picture of Pythagoras's position regarding rituals, lifestyle, and beliefs about the nature of the human soul (chapter 2, section 3, a-f), i.e., his ethical and religious [End Page 409] teachings. With regard to his contributions to science and philosophy, however, we are faced with the problem that we are no longer in the position to differentiate between early Pythagoreanism and Pythagoras himself—even if we leave the Platonic and the Platonist tradition out of the picture, and even where we can reconstruct details. Riedweg bases his outline predominantly on Aristotle's reports on pre-Platonic Pythagoreanism.Though Aristotle's evaluation rests mostly on Philolaus, the picture he develops for early Pythagoreanism throws some light also on Pythagoras himself. Riedweg thus uses Aristotle for an elucidation of a context for Pythagoras's contributions as a philosopher and scientist (chapter II, section 3, i). Another source of indirect information consists in comparisons with Orphic texts. Riedweg succeeds... (shrink)

It weighs in at a bit more than five pounds; its dimensions demand a cradle. Yet this book is a handsome and welcome achievement despite its bulk. Its reproduction of the 1922 text, its maps and photos of 1904 Dublin; its list of minor characters in Ulysses; its bibliography of scholarship, both old and new; its timeline of Joyce's life, and its exemplary detailed annotations of the text: everything, harvested from the best sources, has been brought together to create the (...) largest volume dedicated to Joyce scholarship ever produced—a book that celebrates the first printing of Joyce's masterpiece. Given its weight and size, its classroom utility is likely limited; given its monumentality, it is a proper hundred-year tribute.What is wholly original about the book's contents are the essays that preface each of the eighteen episodes of the masterpiece. That Joycean scholarship grows upon itself is amply demonstrated by the sophistication and weight of learning the eighteen writers can now display. Almost fifty years have passed since Clive Hart and David Hayman edited a volume with a similar aim. Each of the new essays reveals just how much more there is now to know and say about Ulysses, how much more there is to praise in how Joyce conceived the book, how much more there is to teach, and how unlikely it is that Joycean scholarship will ever be diminished in either its curiosity or its energy. Given the increasing complexity and density of such accumulated knowledge, it is a pleasure to witness the economy and precision shown by so many of the writers. In particular, Robert Spoo's writing about “Nestor,” Maud Ellmann's writing about “Lotus Eaters,” and Vicki Mahaffey's writing about “Nausicaa” demonstrate how concision can make for valuable illumination.But there is a problem with where these essays are positioned. Coming before each of the episodes they introduce, they might condition the mind of a reader new to Ulysses to look upon those episodes as no more than demonstrations of what the scholars think. Catherine Flynn, the book's editor, emphasizes the need of such professional interpretation when she describes the plight of anyone “struggling through Ulysses” and “the key challenges facing the reader.” She is right about how hard it is for any new reader to “get” the book, but the placement of the essays is at odds with her claim that “grappling with the novel's challenges, the reader is pushed toward one of the most important rewards of reading Ulysses: thinking independently.” The prefaces may well impede the reader from thinking independently.Professor Flynn's focus on challenge and difficulty is widely shared throughout the Joycean community and has become a fundamental preoccupation in Joyce scholarship. Taking Joyce's mastery as a given, many Joyceans assume a Talmudic stance in believing, to quote Spinoza, that “the intellectual love of a thing consists in understanding its perfections.” Facing the formidable Joyce, they turn and turn again to explication. They subscribe to the dictum that the youthful Joyce himself, perhaps self-mockingly, set down: “A man of genius makes no mistake. His errors are volitional and are the portals of discovery.” But is Ulysses free of error?Fritz Senn, writing about “Ithaca,” does not put himself in opposition to Joyce but in opposition to the presumed inerrancy of Joyce. He argues that the episode displays a troubling disjunction between what Joyce intended to do in the episode and what he did. Joyce told his friend Frank Budgen that in the episode “not only will the reader know everything and know it in the baldest and coldest way, but Bloom and Stephen thereby become heavenly bodies, wanderers like the stars at which they gaze.” But readers do not, indeed, get to know all they should, or see all they should see. Senn notes that they “learn next to nothing about Bloom's mother, his birthday, or the exact nature of his father's suicide, although they do learn a lot about such things as the junk in a drawer, the Dublin water supply system, and the addresses of Dublin shops.” Senn asks: “What does the meeting of the two characters amount to? Will it change Stephen so that he might become the author of the book he is in? Does Bloom find a son? Does he become the father that Stephen is supposed to be looking for? The impassive episode does not seem to answer, or to care.” But these are questions about which many a reader might care.Joyce named “Ithaca” as his favorite among the episodes. Senn demonstrates by his care and attentiveness that he too admires it. But by not limiting himself to dutiful reverence, he instead critically examines the Joycean text. His tribute to Joyce is both unsparing and generous.Equally attentive and yet incisive is Katherine O'Callaghan in her examination of “Sirens.” She recognizes the experimental daring of Joyce's strategy of “conveying music through language” in that episode. But her analysis, as penetrating as it is learned, does not leave the reader persuaded that the episode is entirely successful. As she observes, “the reluctance of the musical art to bend to the critical written voice” is a “stumbling block.”Another problematic experiment, “Oxen of the Sun,” which Joyce himself described as “the most difficult episode... both to interpret and to execute,” presents its commentator, Sarah Davison, with the task of explaining how its grandiose mixture of parody, plagiarism, and sheer celebration of myriad English prose styles over the centuries can function without, as she says, “wrongfooting and dissatisfying readers” who assume that the episode “enacts a historical progression only to find themselves disorientated by so many different echoes and cadences.”Were Joycean scholars more devoted to critical judgment than to explication—even when they are faced with the spectacular imposition of genius—the common reader would more likely find fellowship, and less intimidation, when reading a book that is not a sacred text but a human document, written with the extraordinary self-imposed challenges, as well as the problematic results, that only a most extraordinary human could make. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Citation and Modernity: Derrida, Joyce, and BrechtHarvey L. HixCitation and Modernity: Derrida, Joyce, and Brecht, by Claudette Sartiliot; xiii & 173 pp. Norman: University of Oklahoma Press, 1993, $15.95 paper.Claudette Sartiliot argues that “the traditional definition of citation” is “inadequate and outmoded” (p. 15). It no longer applies to modernist and postmodernist writers, for whom “quotation represents a definite break with the tradition as well as a means (...) of questioning the nature of the literary text” (p. 3). The traditional definition, derived from classical rhetoric, limits quotation to the purpose of illustration and ornament. In contrast, modernist and postmodernist citational practices, having abandoned the typographical separation of the quotation from the “main” text, question “the concept of text as an autonomous entity” and replace the idea of a book “by the more unbounded word discourse” (p. 20).To illustrate her point, Sartiliot appeals first to Derrida’s Glas, which “relies on citation to such an extent that it can serve as a paradigm for a theory of quotation” (p. 35). By juxtaposing two columns of text and by extensive quotation, Derrida (a) links quotation with violence and with sexual penetration, (b) stages “a game of appearance and disappearance” through which he evades the reader’s attempts to “pin him down” (p. 42), (c) reveals that words contain within themselves other words, (d) blurs boundaries between languages and disciplines, and (e) “demonstrates how meaning is generated through an aleatory scattering of semes” (p. 57).Sartiliot also attends to Joyce and Brecht, who achieve similar ends through their citational practices: “both have elevated ‘plagiarism’ to the level of originality” and both “have shown that writing is always and inevitably quoting” (p. 75). Because everything in Finnegans Wake is a quotation—even the characters—Joyce undercuts meaning: a text without boundaries cannot be ingested. Finnegans Wake is like quantum physics: “neither intimated that God was dead, but both confronted the world with a model of representation that intimated that ‘God played dice’” (p. 84).Brecht’s characters, like those of Finnegans Wake, are quotations rather than originals: “empty signifiers” whose very names are not their own, they challenge “the bourgeois myth of the identity and continuity of the subject” (p. 130). [End Page 367] As Copernicus removes humanity from the center of the universe and Marx removes humanity from the center of history, so Brecht removes humanity from the center of theatrical representation, revealing that “the subject as a fully present identity and entity” is delusory, and humanity is “a linguistic (and thus political) construct” (p. 124). In sum, by their citational practices Derrida, Joyce, and Brecht question “the notions of origin, closure, and authorship associated with the conception of the book” (p. 124).Citation and Modernity contains moments of insight. For instance, Sartiliot says of Finnegans Wake that “while Joyce was doing away with quotation marks in his own texts, he was forcing his critics to surround most of their critical terms with quotation marks, as a sore sign [sic] of their inability to find the right word to describe what he was doing” (p. 75). In other respects, however, her book is not satisfying. The most obvious problem is that her own citational practices contradict her thesis. After writers like Derrida, Joyce, and Brecht, she says, we can no longer return to traditional quotation based on classical rhetoric, yet her own quotation is strictly traditional: it illustrates and ornaments, and maintains a clear distinction between her own words and those belonging to someone else.There are other failures to live up to the book’s own standards. Sartiliot claims that the chief purpose of quotation is to attack the authority of the quoted father, to “subvert the notions of filiation and tradition” (p. 149) and “eclipse the precursor” (p. 8), yet her own book steadfastly upholds filiation and tradition. From the cover, which makes much of her having been a student of Derrida, to the pervasive jargon (totalization, hymen, logocentrism, dissemination, etc.), the book defers all too consistently to the authority of its father, and consequently fails to challenge its readers.Harvey L. HixKansas City Art InstituteCopyright © 1995 The Johns Hopkins University Press... (shrink)

İSNAD, sosyal ve beşeri bilimler alanında hazırlanan çalışmalarda kullanılmak üzere Türkiye merkezli olarak geliştirilen akademik yazım ve kaynak gösterme sistemidir. “Kaynak gösterme”, bilginin bilimselliğinin bir gereği olduğu kadar fikrî mülkiyet ve telif haklarına saygının da bir gereğidir. İstifade edilen bir kaynağın araştırmada belirtilmemesi yayın etiği suçudur (intihal / plagiarism). Bu sebeple ortaya konulan bilimsel bir çalışmanın kaynakları, başka araştırmacılar tarafından tekrar ulaşılabilir ve kontrol edilebilir olacak şekilde bibliyografik bileşenleri ile doğru ve eksiksiz olarak yazılmak durumundadır. İSNAD atıf sistemi ise (...) Türkiye merkezli olarak Antropoloji, Arkeoloji ve Sanat Tarihi, Coğrafya, Dil ve Edebiyat, Eğitim, Felsefe, Halkbilimi, Hukuk, İktisadi ve İdari Bilimler, İlahiyat, Psikoloji, Sanat, Sosyal Hizmetler, Sosyoloji ve Tarih gibi sosyal ve beşeri bilimler alanında görülen atıf ve kaynak gösterme gereksinimlerinin giderilmesi amacıyla geliştirilmiştir.İSNAD atıf sistemi; akademik bir yazının başlığının nasıl belirleneceği, özetinin hangi bilgileri içermesi gerektiği, anahtar kavramların nasıl seçileceği, başlıklandırma formatının nasıl olması gerektiği, içerdiği tablo ve şekillerin nasıl oluşturulacağı, çalışmada kullanılan Arapça, Farsça, İngilizce ve diğer eser adlarının ve müellif isimlerinin nasıl yazılacağı, tarih ve yüzyılların hangi şekilde gösterileceği, yayın etiği kapsamında nelere dikkat edilmesi gerektiği, istifade edilen kaynak eserden dolaylı veya doğrudan nasıl alıntı yapılacağı, atıf yapılan kaynakların metin içinde veya dipnotta nasıl yazılacağı ve kaynakçanın nasıl oluşturulacağı gibi akademik yazımla ilgili bilinmesi ve uygulanması gerekli tüm kuralları içermektedir.Sözlükte “dayanmak, yaslanmak, itimat etmek” manasındaki “sened” kökünden türeyen isnad, “temellendirmek, dayamak; sözü söyleyenine kadar ulaştırmak, bir sözün, bir rivayetin geliş yolunu haber vermek, ilk kaynağa kadar götürmek” anlamlarına gelmektedir. “Sözünün senedi nedir?” örneğinde olduğu gibi sözün kaynağını sorgulamak ve belirtmek için kullanılmaktadır. Bu anlamda isnad, akademik yazımda atıf veya alıntı yapılan kaynağı belirtmek için geliştirilen atıf sistemine, Türkiye merkezli yayın yapan ilahiyat alan dergilerinde görev üstlenen editörlerin çoğunluğunun (%70,4) kararı ile ad olarak seçilmiştir.İSNAD atıf sistemi, 2017-2018 yıllarında “İlahiyat Atıf Sistemi” olarak geliştirildi ve ilk versiyonu 12/03/2018 tarihinde matbu ve online olarak yayınlanarak ücretsiz olarak kullanıma sunuldu. Sistemin Türkiye’de ve Türk Cumhuriyetlerinde ilahiyat alan dergileri arasında ilgi görmesi ve ilahiyat alanı dışında da kullanımına dair talepler gelmesi üzerine İSNAD’ın ikinci versiyonu, tüm sosyal bilimler alanında kullanılabilecek şekilde geliştirildi ve Eylül 2018 itibari ile hizmete sunuldu. İSNAD artık sosyal ve beşeri bilimlerin tüm alanlarında kullanılabilmektedir.İSNAD atıf sistemi, Dr. Abdullah Demir tarafından Sivas Cumhuriyet Üniversitesi Rektörlüğü’nce desteklenen RGD-015 numaralı “Ulusal İlahiyat Atıf Dizini Projesi” kapsamında, Sivas Cumhuriyet Üniversitesi Dini İlimler Uygulama ve Araştırma Merkezi (DİMER) bünyesinde, akademik yayıncılık alanında uzman öğretim üyelerinin ve hakemli dergi editörlerinin görüş, öneri ve değerlendirmeleri alınarak geliştirildi. Yaygın atıf biçimlerinden APA, Amerika Psikoloji Derneği (American Psychology Association) ve Chicago ise Modern Diller Derneği (Modern Languages Association) tarafından geliştirilerek satışa sunulmuştur.İSNAD; Türkiye merkezli olarak geliştirilen, kullanıma sunulduğu 12/03/2018 tarihinden kısa bir süre sonra hakemli akademik dergi ve kitap yayıncıları ile Fakülte Dekanlıkları (mezuniyet tezlerinin yazımında) ve Sosyal Bilimler Enstitüsü Müdürlüklerince (Yüksek Lisans ve doktora tezlerinin yazımında) kullanımı benimsenen, Web of Science / Clarivate Analytics, TÜBİTAK TR Dizin ve TÜBİTAK DergiPark gibi akademik yayıncılıkla ilgili indeks ve dergi platformlarınca kaynak gösterme biçimlerinden biri olarak sistem entegrasyonu yapılan, Zotero, Mendeley ve EndNote gibi dünya çapında kullanılan kütüphane ve referans düzenleme yazılımlarına uygun şablonları hazırlanan ve ücretsiz olarak kullanıma sunulan ilk ve tek yerli-milli kaynak gösterme sistemidir ve bu açıdan oldukça önem arz etmektedir. Türkçe’nin bir bilim dili haline gelmesi hedefleniyorsa, bu hedefe ulaşmada, Türkçe olarak hazırlanan bir bilimsel yazım ve kaynak gösterme sisteminin bulunması da bir zorunluluktur. Ortaöğretim ve üniversite öğrencilerinin Türkçe olarak hazırlanan ve ücretsiz olarak kullanıma sunulan İSNAD atıf sistemini öğrenmeleri ve kullanmaları, aslı İngilizce olan ve satın alma imkanı da elde edemeyecekleri sistemleri öğrenmelerine kıyasla daha elverişlidir ve kolaydır. Türkçe konuşan ülkelerin bilim insanlarının bildiri, makale, kitap, proje ve benzeri bilimsel çalışmalarını İSNAD atıf sistemini kullanarak hazırlamaları, Türkçenin ortak bir bilim dili olarak güçlenmesine katkı sağlayacaktır. İSNAD atıf sistemi ile Türkiye’de ve Türki Cumhuriyetlerde; Antropoloji, Arkeoloji, Coğrafya, Dil ve Edebiyat, Felsefe, Halkbilimi, Hukuk, İktisadi ve İdari Bilimler, İlahiyat, Müzik, Psikoloji, Sanat Tarihi, Sosyal Hizmetler, Sosyoloji ve Tarih gibi sosyal ve beşeri bilimler alanında hazırlanan yayınlarda ortak bir atıf sisteminin kullanımını sağlamak hedeflenmektedir. İSNAD atıf sisteminin kullanımı, Türkçe konuşan ülkelerde sosyal ve beşeri bilimler alanında kaynak göstermede standartlaşmayı sağlayarak atıf ve etki değeri tespitine olanak sağlayacak ve Türk dünyası arasında bilimsel iletişimi kolaylaştıracaktır.İSNAD atıf sistemi, sosyal ve beşeri bilimler alanında araştırma yapan ve yazı kaleme alan öğrenciler, akademisyenler ve yazarlar ile bu alanda yayın yapan kurum ve kuruluşların hizmetine sunulmuştur. Sosyal bilimler alanında yayın yapan birçok dergi İSNAD atıf sistemini kullanmaya başlamıştır. Lisans mezuniyet tezi, yüksek lisans tezi ve doktora tezlerinin yazımında İSNAD atıf sisteminin kullanılmasını öngören ve bunu tez yazım kılavuzlarına dahil eden üniversitelerin sayısı artmaktadır. Ayrıca ulusal ve uluslararası sempozyum ve kongre düzenleyen birçok kurum ve kuruluş, katılımcıların bildirilerini İSNAD atıf sistemine uygun olarak hazırlamalarını talep etmeye başlamıştır. Ücretsiz olarak kullanıma sunulan bu sistem, kullanıcı dostu arayüzü ve kaynak gösterme yazılım eklentileri ile hızla kabul görmekte ve benimsenmektedir. Öğrenciler, yazarlar, araştırmacılar ve akademisyenler; İSNAD’ın EndNote, Zotero ve Mendeley gibi kaynak gösterme yazılım eklentileri sayesinde daha kolay, daha hızlı ve hatasız olarak “atıf ve kaynak gösterme” işlemlerini yapabilmektedirler. Bu sisteminin Türkiye ve Türk Cumhuriyetlerinde kullanımı yaygınlaşmaya devam etmektedir. www.isnadsistemi.org. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Truth MattersOnce in a while stunning new ideas that energize a scholarly discipline—or even wreck it altogether—come from the outside. The most influential philosopher of science in the last generation was not a philosopher at all, but an historian and physicist, Thomas Kuhn. Ernst Gombrich, an art historian, has deeply informed the philosophy of art, as the linguist Noam Chomsky has affected the philosophy of language. And Jacques Derrida (...) continues to cast his stupefying spell over many a literature department, even if most philosophers remain unimpressed.In a minor but spectacular way (how else to describe an event first encountered on the front page of the New York Times?), Alan Sokal has barged in on this honorable tradition. As a physicist, he successfully placed a barely-coherent, factually ludicrous, jargon-ridden article in a major journal of cultural studies.When we caught up with Sokal’s hoax, our initial reaction was sympathy for the hapless editors of Social Text. They weren’t the first journal editors to be landed with a contribution that went sour (though the only other episodes we could recall were plagiarism, not parody). However, when one of these chaps, Stanley Aronowitz, reacted in the Times by calling Sokal “ill-read and half-educated” (May 18, 1996), editorial fellow-feeling began to evaporate. And when Stanley Fish, executive director of the Duke University Press, which publishes Social Text, launched a bitter counterattack on Sokal three days later, it was hard not to regard Fish’s indignation, as E. D. Hirsch described it in a subsequent letter to the Times, as “the indignation of Tartuffe on being exposed.” [End Page 299]After some tedious preliminaries, Fish accused Sokal of failing to understand that the sociology of science is an enterprise “distinct” from science, “with objects of study, criteria, and goals all its own.” Sokal knows this, naturally, as he had already made clear in his Lingua Franca article on the hoax, and as he explains again in his afterword in this issue of our journal. But Fish went on to a more sweeping generalization. Imagining Sokal believed that cultural studies threaten the stability or integrity of the sciences, Fish said not to worry: “A research project that takes the practice of science as an object of study is not a threat to that practice because, committed to its own goals and protocols, it doesn’t reach into, and therefore doesn’t pose a danger to, the goals and protocols it studies.”With this account of a well-ordered academic world, Fish inadvertently reveals what some see as a serious failing of cultural studies and postmodern theory: it poses a threat to absolutely nothing. Leave science aside for a moment, and consider a sociology of, say, astrology, or medicine, or the fashion industry. Could we envision a proper sociology of astrology which posed no danger to “the goals and protocols” in using planetary/zodiacal patterns to predict the future or retrodict the characters of subjects? Hardly; it’s the business of the sociology of any human activity to identify and question the intellectual claims and practical ambitions of that enterprise. And that is exactly what Alan Sokal did: he invented a clever test of the intellectual rigor of cultural studies in general and its version of poststructuralist sociology of science in particular. He then subjected Social Text—and implicitly in many minds the intellectual standards of the field it represents—to the test. It failed.Sokal’s methodology was not unique; it can be applied in different ways to many other disciplines. If you want to evaluate, for example, the intellectual pretensions of astrologers there is a fine way to do it; it essentially adapts the double-blind placebo procedure used in drug research, another celebrated testing methodology. Allow a group of astrologers to agree on a set of character readings based on accurate birth charts. Give these back, shuffled, with identifying information stripped off, to the subjects of the astrological readings. If the subjects can pick out their own readings from character descriptions alone (descriptions created by astrologers on the basis of birth information only, without meeting the subjects in question), then astrology must possess... (shrink)

This study analyzes predominant themes and disciplinary and methodological trends in academic integrity and misconduct research. It utilizes bibliometric analysis to explore prevalent themes and interdisciplinary intersections within discussions based on Scopus metadata. R Studio, which uses _biblioshiny_ software, is employed to visualize trends. The results indicate the presence of 769 final documents (627 on academic integrity and 142 on academic misconduct) related to the research focus up to 2023. Visual representations show complex relationships and theme changes. The analysis uncovers (...) connections between academic integrity and misconduct, emphasizing criteria such as plagiarism and the misuse of artificial intelligence (AI) tools. Distinct thematic clusters emerge, showcasing diverse dimensions and the impact of AI on misconduct. Interconnected research endeavors underscore dominant themes like cheating and ethical considerations. Thematic evolution reflects shifts from integrity-misconduct dichotomies to emergent issues like online fraud. Disciplinary contributions highlight the interdisciplinary nature of the discourse, drawing insights from social sciences, medicine, arts, business, psychology, and computer sciences. The detailed systematic literature review and survey design, which are dominant in research on academic integrity and misconduct, help build audience confidence. Some insights into academic integrity and misconduct via typical categories or terms have also been illustrated for the insightful reader. (shrink)

The poets and prose-writers of Greece and Rome were acutely conscious of their literary heritage. They expressed this consciousness in the regularity with which, in their writings, they imitated and alluded to the great authors who had preceded them. Such imitation was generally not regarded as plagiarism but as essential to the creation of a new literary work: imitating one's predecessors was in no way incompatible with originality or progress. These views were not peculiar to the writers of Greece (...) and Rome but were adopted by many others who have written in the 'classical tradition' right up to modern times. Creative Imitation and Latin Literature is an exploration of this concept of imitation. The contributors analyse selected passages from various authors - Greek, Latin and English - in order to demonstrate how Latin authors created new works of art by imitating earlier passages of literature. (shrink)

The film Nosferatu (1922) has graffiti created by the character of the madman Knock on the walls of his cell. This motif, which I call the ‘madman’s wall’, has accompanied depictions of lunatics since the beginning of the eighteenth century. This article examines the origin, transformations and functions of this motif. The popularisation of the motif originates with the longitude diagram in the last plate of A Rake’s Progress (1735) by William Hogarth, which subsequently found its way into the works (...) of Hogarth’s plagiarists and influenced illustrations of asylum interiors in the first half of the nineteenth century. The madman’s wall also appears in literature, such as the popular novel The Father and Daughter (1801) by Amelia Opie, which was plagiarised and dramatised, and the legend of the poet Charles Smart, who allegedly wrote his poem on the walls of his cell. The main prerequisite for the madman’s wall is the dungeon-like image of the asylum—presenting it as a prison. It is usually the author of the graffiti who displays the signs of madness, not the wall itself. As society distanced itself from the image of the asylum as a dungeon, the madman’s wall disappeared after the 1850s. Paradoxically, many reports about the authentic wall art of asylum patients emerged in the press after the 1850s. The madman’s wall in Nosferatu is the first example after an approximately seventy-year absence and could be a product of the period interest of avant-garde artists in the art of the mentally ill. (shrink)

1. ʻArve naḥal, ḥashivuto shel kol Yehudi --2. Isur hitḥabrut ʻim reshaʻim--3. Ketsad la-ʻazor le-vaʻale teshuvah.