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In this essay, a marginal and -at the same time-prominent phenomenon in the exegesis of Roberto Bolaño's work is studied: the performance offered by the rock-veteran Patti Smith as reader of the Chilean author, in an interview that took place in Madrid, in 2010. Smith metapositions herself with respect to the "literary system", but she also uses a concept inherited from romanticism, poetic congeniality, locating herself in an inter-authorial dimension with Bolaño. Then, she performs several exercises: the (re)staging of her own poetic authorship, and the projection of her authorial presence as a singer on/from Bolaño's absence. These interventions by Smith are analyzed in relation to a study by Sonja Longolius dedicated to the "performing authorship", which at the same time takes up the Deleuze and Guattari's theory of becoming author, and the transmission of the great texts (of cult). [ABSTRACT FROM AUTHOR]

This paper deals with the publication of the Biblioteca Personal Jorge Luis Borges, its context within the so called "spectacle society", its "predecessors" (Schwob, Machen, Pliny, Solinus, Aelianus) and its relationship with other contemporary writers, such as the Argentinian Julio Cortázar or the Mexican Juan José Arreola. In addition, it comments on the specific poetical recreation made by Borges on some Virgilian verses, such as the hypallage from the book vi of the Aeneid. The goal is to understand the literary devices Borges uses as a reader of the authors chosen as his "predecessors". [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Educacao e Pesquisa is the property of Faculdade de Educacao da Universidade de Sao Paulo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analyses the relationship between the author and the reader in two of Borges's most representative fictions: "Tlön, Uqbar, Orbis Tertius" and "Pierre Menard, Author of the Quixote". In the first writing, the fictional reader and narrator Borges not only challenges the non-fictional reader to interpret correctly the various references that appear in the text, but he also invades his real-life world. In the second story, "Pierre Menard", the fictional reader and narrator challenges the non-fictional reader again by claiming that two identical texts may acquire different values when they are attributed to two different authors living in different periods of time. By exploring these provoking texts, the article attempts to establish Borges's own perspectives on "authorship" and "readership" starting from the premise that, in the Borgesian stories, the line between the reader and the author is blurred. [ABSTRACT FROM AUTHOR]

The article explores how authors think when writing a book and author represents the role of a person who is worried. It mentions that purpose of writing to make possible that seems impossible; assumption that have in mind the author of the letter reaches the mind of the reader; and how complete emergency process consists of in the need to deliver a code to others.

Copyright of Romanica Olomucensia is the property of Palacky University in Olomouc and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article features writer John Ruskin and his Victorian readership. Topics include Ruskin's books like "Modern Painters" and "Praeterita," Ruskin's accomplishments like winning the Newdigate Prize for Poetry in 1839, his influences like the poetry of William Wordsworth and the fiction of Walter Scott, and Ruskin's other works like "The Seven Lamps of Architecture" and "The Stones of Venice."

Copyright of Two Homelands / Dve Domovini is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Although journal outlets are beginning to put forth explicit criteria that define authorship, studies have also found that there are nonetheless components of authorship philosophies that remain interactional and culturally defined among members of particular scientific communities. In line with other scientific fields, authorship practices and philosophies are central to publishing in criminology. By drawing from a set of 40 interviews with elite scholars in the field, this paper investigates authorship philosophies prominent in criminology. This paper contributes to knowledge on criminological research practices in two ways. First, this paper contributes to the scant literature on authorship in criminology by investigating cultural definitions of what constitutes authorship right and order. Second, this paper contrasts widespread notions of scientific literate practices as being universal and instead builds on a body of work suggesting that literate practices in scientific communities are culturally defined. [ABSTRACT FROM AUTHOR]

Two young men create a personal digital map of a site important to their literate youth. They are demographically similar and each regards the Harry Potter series as an important childhood text. Yet their mental approach to fictional world-building is very different. One places a high priority on life experience (explorations in a nearby ravine) and applies those sensations in relatively unarticulated ways to his reading. The other starts with the words and mentally builds a detailed interior world that is as accurate as careful reading can make it. Cognitive diversity deserves recognition as much as other kinds of difference. [ABSTRACT FROM AUTHOR]

In order to reduce the increasing cancer burden in Lower and Middle Income Countries (LMICs), oncology journals must support authors from underserved settings to become fully involved in the global publication system, without facing barriers to publishing their research such as geographical bias and lack of funding. ecancermedicalscience's goal has always been to publish high-quality research which contributes towards narrowing the gap between those who have access to adequate cancer prevention, treatment and care and those who do not. The time is now right for the journal to take new steps in proactively supporting authors from LMICs and the global partnerships that are vital to increasing the availability of resource-appropriate data. With this in mind, ecancermedicalscience will only be accepting submissions which feature at least one author from an LMIC, or which have a significant impact on under-resourced settings. [ABSTRACT FROM AUTHOR]

In this current exploration of technology the authors attempt like to keep Journal readers as current as possible with the rapid expansion--and regulatory caution--of social media in mid-2012. [ABSTRACT FROM AUTHOR]

The article focuses on main points to be considered by a budding author while writing a book. It is advised to write a complete draft, put it in a drawer, then forget about it while writing a good novel. It is recommended to find the right topic for the book and it is better if the topic is timely and new.

When reading literature, we might have an emotional connection with the author, or at least what appears to be such, even when that literature is a work of fiction. But it is unclear how a work of fictional literature could supply the resources for such an experience. It is, after all, a work of fiction, not a report of the author's experience, as with memoir or autobiography. The task of this paper is twofold: first, to explain the nature and value of this emotional experience; second, to argue that a fictional literary work can supply the resources for such an experience. [ABSTRACT FROM AUTHOR]

Voice is co-constructed, a result of the “text-mediated interaction between the writer and the reader.” The present study, using the context of U.S. college writing, explores the complicated process by which an L2 novice writer—one who has a growing awareness of, yet peripheral access to, discourse practices—constructs a voice. Through interviews and a close analysis of a text, a comparison is made between the voice the L2 writer wished to project in an assigned paper and the voice constructed by two readers in the course of their anonymous readings of the paper. The significant gap between the L2 writer’s aims and the readers’ responses suggests that a writer’s view of her voice stems from the ways in which she conceptualizes discourse conventions, in association with her particular linguistic, social, and cultural background. The pedagogical implications of the L2 writer’s process of negotiating identity, and her struggles to learn discourse expectations, are discussed. [ABSTRACT FROM PUBLISHER]

The article presents several rules for restructuring papers to avoid losing readers. Authors are instructed to focus their papers on a central contribution and to concentrate on the context-content-conclusion (C-C-C) scheme. They are also advised to optimize a paper's logical flow by avoiding zig-zag and using parallelism and to include complete story in the abstract.

The ancient notion of authorship and forgery can be analyzed in various ancient texts, including embedded texts (e.g., reported speeches) and independent texts, some written under the author’s control (e.g., speeches, letters, and history books), as well as others written independently of the author’s control (e.g., translations and unauthorized lecture publications). In all cases an authorial attribution was regarded as correct and nondeceptive if either content and wording or just the content of a particular text could be traced back to the author whose name it carried. This prevailing principle of ancient authorship attribution, while often taken for granted and applied without further explanation, was also stated explicitly in several places. These ancient statements are in conflict with the most innovative contribution of Bart Ehrman’s otherwise very useful recent book Forgery and Counterforgery (2012). Ehrman has rightly joined the growing number of scholars who have raised substantive doubts regarding the once-popular thesis of innocent ancient pseudepigraphy. At the same time, his assertion that in antiquity a text’s authenticity was assessed not on the basis of its content but always on the basis of its wording goes one step beyond what the numerous relevant ancient sources reveal. [ABSTRACT FROM AUTHOR]

In this article I argue that translated texts and translational paratexts invite readers to read translated texts as if they were the originals, a hitherto widely ignored premise of translations. Although translations are produced by many agents in collaboration (authors, publishers, copy-editors and translators), they are generally presented as texts produced predominantly by one agent, the author. I therefore claim that there is a ‘translation pact’ at work in translated literature, a rhetorical construction through which readers are invited to read translated texts as if they were the originals. A narratological implication of the pact is that individual readers who accept the pact will reconstruct only an ‘implied author’ and not an ‘implied translator’. This view differs from earlier works on the implied translator (e.g. Munday, 2008: 11; O’Sullivan, 2003; Schiavi, 1996). The translation pact is most often constructed implicitly, but sometimes translators draw attention to themselves and manifest their agency, for example by discussing translational decisions in prefaces and notes. Against what one would assume from previous claims on the translator’s ‘visibility’ (Venuti, 1995), I demonstrate that the translator’s presence does not necessarily work against the pact but can rather strengthen it. The translation pact explains why readers, including critics, literary scholars and other professional readers, often talk and write about translations as if they were originals composed solely by the author. [ABSTRACT FROM AUTHOR]

It is necessary to continuously review the definition of the book moving from one bound by its material form to one determined by its function as a means of communication. The book’s social function as the high status vehicle for communicating new ideas and cultural expressions is being challenged by sophisticated systems of conveying meaning in other media. In this article, we report on two projects: electronic book (e-book) publication and reader forum for Nature Mage and the transmedia augmented reality (AR) fiction Sherwood Rise, which investigate these issues. Claudio Pires Franco’s work is based on the adaptation of a source work: Duncan Pile’s Nature Mage. The project aims to develop the book from e-book to a fan-produced enhanced digital book. Through this practice-based research, Franco investigates the definitions and classification of the e and i forms of the book and adaptation in new media; the role of the author in creative collaboration with readers through online forums; the extension of the story world through creative collaboration and reader participation while respecting and safeguarding creative properties. One remove from the traditional book, David Miller’s Sherwood Rise, research the user experience with AR to examine narrative problems and explore new storytelling aesthetics. These new media forms define the outer borders of the book system within which content is formed and moulded, and around which society is shaped. [ABSTRACT FROM PUBLISHER]

Total growth of research groups has been substantial in Brazil in the last decade, as a consequence of specific public-policies. This article explores the evolution of Brazilian scientific capabilites and productivity in stem cell and cellular therapy research groups and the role of internal and external scientific collaboration and co-authorship. The analysis is based on data on publications from the Web of Science, researchers' curricula vitae from CNPq and of interviews developed in 2010-2012. A large expansion of the sector is proven in the last decade, based upon inter and intra- institutional research collaboration and publications, as well as, gradually growing international collaboration. The article recommends the consolidation of a stable national governance for better global integration. [ABSTRACT FROM AUTHOR]

Although the worlds of professors and author-illustrators of children's and young adult literature are closely related, they rarely intersect in practice. In this column, readers are provided with a new perspective that crosses this divide. The authors are both professor of children's and young adult literature, as well as accomplished authors and illustrators or trade books. Their unique vantage point allows the authors to share insights gained from working in these related but separated worlds. Teachers will enjoy the suggestions for classroom instruction and the look 'behind the scenes' that emerges from this intersection. [ABSTRACT FROM AUTHOR]

When text goes digital it changes forever. It's no longer fixed unalterably on the page. Readers can play with it, change it, comment on it, even rewrite it if they so wish. Interactive digital technology dissolves the barrier between reader and author; it challenges ideas of finality of version and of authorship. What do these changes mean for the novel? Can it function in the digital arena? By democratizing and making public the publishing and writing processes, such technologies and platforms challenge the norms surrounding the author reader dynamic and the role of the individual in reading and writing established by print. [ABSTRACT FROM AUTHOR]

The author reflects on the issue of desk returns, a case in which a submission is not being passed to the review process, but yet is not rejected. He explores why such case takes place and provides authors with tips on how to avoid having their papers desk returned. Meanwhile, a list of people, who are acknowledged by the author for reviewing the journal during 2010, is also presented which include Bill Carden, Shawn Carraher and Evelyn Chan.

The article discusses the epitaphic mode of William Wordsworth's poetry within the context of the expanding print culture. In response to deconstructive readings that emphasize the materiality of the text and the absence or death of the author, the author contends that Wordsworth used the epitaph to justify a new poetics and a new authorial role. Topics include a discussion of Wordsworth's "Essays upon Epitaphs," the emphasis on the permanence of epitaphs, and the moral function of poetry.

Naturalistic fallacy (NF) errors occur when empirical descriptions of nature are presumed to dictate moral positions or courses of action. Two research summaries prepared as media essays for lay audiences were used to explore whether brief editorial warnings-placed at either the beginning or the end-would discourage NF errors. For both research topics, warnings yielded a 'sleeper effect,' with initially suppressed NF errors returning to the level of no-warning controls over a 2-week period. Warning location, however, did not impact errors. Readers also estimated the moral views of essay authors and cited researchers to be similar to their own views and similar to each other's. Better author-researcher differentiation occurred when authors and not the researchers were recognized as responsible for the writing in essays that asserted moral claims. [ABSTRACT FROM AUTHOR]

The article discusses ways to handle the two common problems concerning publication ethics such as defining authorship and plagiarism and self-plagiarism. It suggests that authorship credit must be based on various factors including one's substantial contributions to the design, conception, data collection and data assessment and interpretation. It also states that authors should not commit plagiarism because it deceives the readers and at the same time it undermines trust in a particular publication record.

The article discusses writing books as a teenager. It explores the purposes of teenage authors in writing such as writing for oneself because they are in a period of self discovery, or writing to let go of the darker areas of their psyche or handle difficult situations. It also offers advice to teenagers on how to produce their own literature, which include approaching fellow teenage authors, advocate the value of teenage authors, and keep fueling their own passion for writing.

The article focuses on the personal experiences and relationships among authors, critics, and readers. It states that nowadays, readers can personally meet their favorite authors, shake their hands, and talk to them. It explores the personal stories of authors such as their experiences, hardships, and anecdotes in writing. It notes that writing is a lonely business and authors do not always get a chance to talk with their readers and know the parts of their books that are most appreciated or the parts that make readers anxious to ask questions. It also cites the things which the authors hope and expect in publishing their works.

This essay discusses the principles that must be considered in order to write fiction. It mentions the need of every writer to write his own concept of what the audience of the future will be. It cites the end of the nationalist writer which entails new forms of narrative where the individual asserts of not being in relation to a national reality but a transnational one. It notes the grasp of second-hand writer to the authority of psychologists over human development.

The article discusses the joy and intellectual benefits of reading. The author points out that reading enables a person to develop acute ideological opinions on literary works as well as understand the significance of books in the society. He relates that intellectuals tend to connect their interests with the society through writing.

The article explores the religious vision in Patrick White's novel "Riders in the Chariot." It has proposed an alternative against the readings from Jewish, Christian, and even secular non-religious perspectives. It is noted that the author brings together a synthetic vision in which three religious traditions are confirmed as complimentary. The author has respected the deep differences beween the traditions while drawing on the analogical commonality, as well as the redemptive value of suffering and the nature of an unfinished atonement within people's lives. It cites that the novel has been read in different religious ways and has received sensitive and illuminating attention to its Jewish mystical thematics.

The article illustrates how authors and young readers are able to form a connection through a book. The author says that although the words in storybooks belong to the authors, young readers become the director of the story since they are the ones who do the discovery and interpretation. He claims that when authors write books for children, words, and not research, become their stock in trade. The author contends that young readers consider authors as their trusted friends.

Reynolds and Besner (2005) examined contextual control over the use of lexical and nonlexical routes by requiring participants to alternate between reading pairs of low-frequency exception words and pairs of nonwords. Their main finding was that latencies for both words (e.g., wad) and nonwords (e.g., flad) were slower when the immediately preceding trial involved the opposite item type rather than the same item type (a switch cost). The authors interpreted this result as evidence that under certain circumstances, readers have the ability to shift emphasis between their lexical and nonlexical routes. The present research shows that these results can be replicated using Reynolds and Besner's items; however, the switch cost for words, but not for nonwords, disappears when more easily named nonwords are used. This result suggests that Reynolds and Besner's results were likely due to something other than shifting route emphasis. [ABSTRACT FROM AUTHOR]

A lot has been written and spoken about the philosophy of Michel Foucault, because it has been analyzed from different perspectives, and because of the multiple themes that it develops. This article focuses on the disappearance of the author as the privileged location and meaning creator of discourse, and its implications for defining the author as a variable and complex function of discourse. We link this idea in Foucault to the heteronymic poetry of Fernando Pessoa which seems to correspond to Foucault's ideas on this issue. [ABSTRACT FROM AUTHOR]

The article presents the author's responses to the reviews of his book on constitutional law. The author's explained that the use of the term "case law" was subjected for comment, because the reader thinks it includes theorists. In return, he clarified by saying that the phrase stands as it is. With regards to his alleged implication that constitutional law lacks exemplars of different interpretive approaches, he refuted it by saying that his phrases did not exactly mean it.