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"Contemporary media authorship is frequently collaborative, participatory, non-site specific, or quite simply goes unrecognized. In this volume, media and film scholars explore the theoretical debates around authorship, intention, and identity within the rapidly transforming and globalized culture industry of new media. Defining media broadly, across a range of creative artifacts and production cultures--from visual arts to videogames, from textiles to television--contributors consider authoring practices of artists, designers, do-it-yourselfers, media professionals, scholars, and others. Specifically, they ask: - What constitutes "media" and "authorship" in a technologically converged, globally conglomerated, multiplatform environment for the production and distribution of content? - What can we learn from cinematic and literary models of authorship--and critiques of those models--with regard to authorship not only in television and recorded music, but also interactive media such as videogames and the Internet? - How do we conceive of authorship through practices in which users generate content collaboratively or via appropriation? - What institutional prerogatives and legal debates around intellectual property rights, fair use, and copyright bear on concepts of authorship in "new media"? By addressing these issues, Media Authorship demonstrates that the concept of authorship as formulated in literary and film studies is reinvigorated, contested, remade--even, reauthored--by new practices in the digital media environment"--

'What is Comics Journalism,' and 'Why is the author not dead at all?' Because literature and journalism deal differently with "authorship" and "author," this work renegotiates these concepts. It analyzes the author's importance in comics journalism, especially concerning the verification and authentication of the production process. This study gives a broad and extensive overview of the various forms of contemporary comics journalism, and argues that authorship in comics journalism can only be adequately understood by considering the author both on the textual and extratextual level. By combining comics analyses with cultural, sociological, and literary studies approaches, this study introduces the 'comics journalistic pact,' which is an invisible agreement between author and reader, addressing issues of narration ('voice'), testimony ('face'), and journalistic engagement ('hands'). It categorizes comics journalism as a borderline genre between literature, culture, art, and journalism due to its interdisciplinary nature.

'What is Comics Journalism,' and 'Why is the author not dead at all?' Because literature and journalism deal differently with "authorship" and "author," this work renegotiates these concepts. It analyzes the author's importance in comics journalism, especially concerning the verification and authentication of the production process. This study gives a broad and extensive overview of the various forms of contemporary comics journalism, and argues that authorship in comics journalism can only be adequately understood by considering the author both on the textual and extratextual level. By combining comics analyses with cultural, sociological, and literary studies approaches, this study introduces the 'comics journalistic pact,' which is an invisible agreement between author and reader, addressing issues of narration ('voice'), testimony ('face'), and journalistic engagement ('hands'). It categorizes comics journalism as a borderline genre between literature, culture, art, and journalism due to its interdisciplinary nature.

Intro -- Contents -- Acknowledgments -- Abstract -- Zusammenfassung: "Autorschaft in Comic-Journalismus -- 1 Introduction: Comics, Journalism, and the Author -- 1.1 Comics Journalism and the Comics Journalist -- 1.2 Hypotheses, Key Questions, and Aims -- 1.3 Key Concepts and State of Research -- 1.4 Corpus, Methodological Issues, and Outline -- 2 Theoretical Premises and Generic Constituents of Comics Journalism -- 2.1 Changing Journalistic Field and Profession -- 2.1.1 Defining Journalism -- 2.1.2 Topicality and Relevance -- 2.1.3 Crisis -- 2.1.4 Change -- 2.1.5 List of Challenges -- 2.2 Representation of Facts: Accuracy and Imagination -- 2.2.1 Fake News and Alternative Facts -- 2.2.2 Truth, Essential Truth, and Emotional Truth -- 2.2.3 Imagination and Informed Imagination -- 2.2.4 Objectivity in Journalism -- 2.3 Narrative Mediation -- 2.3.1 Author and Authorship -- 2.3.2 Reality Narrations and Reality References -- 2.3.3 Mediated Authenticity -- 2.4 The Popularity of Drawing(s) -- 2.5 In the Tradition of New Journalism -- 2.6 Classification Categories for Comics Journalism -- 2.6.1 Way and Medium of Publication -- 2.6.2 Duration of Production -- 2.6.3 A Combination of Journalistic Genres -- 3 The Author in the Storyworld: The 'Comics Journalistic Pact -- 3.1 Voice -- 3.1.1 Voice-Giving -- 3.1.2 Narrative Mediation in Comics Journalism -- 3.1.3 First-Person Narration vs. Neutral Documentary-Like Narration -- 3.1.4 Metaization and Self-Referentiality in Comics Journalism -- 3.2 Face -- 3.2.1 The Role of Witnessing -- 3.2.2 The Relationship between Autobiography and Comics Journalism -- 3.2.3 Visual Self-Reflection and the 'Cartoon-Me -- 3.2.4 The Challenge of Collaborative Authorship -- 4 The Author in the ExtratextualWorld -- 4.1 Hands -- 4.1.1 The Comics Journalist as a Handicraftswoman -- 4.1.2 The Comics Journalist as a Messenger.

A Companion to Media Authorshipoffers 28 groundbreaking chapters which investigate the practices, attributions, and meanings of authorship. Revitalizing the study within media and cultural studies, this diverse and global collection provides the definitive work on the subject.Rethinks cultures of authorship and challenges the concept of auteurism across multiple media formsMoves beyond notions of the individual to focus on how authorship is collaborative, contested, and networked, examining cultures of authorship and the practicalities of how it worksDraws on the cutting-edge research of scholars and practitioners whose work has produced significant new insights into the fieldExamines a wide range of media, including television, social media, radio, videogames, transmedia, music, and comic booksOffers an impressive global focus, including pieces on Mexican music, amateur film production in Nairobi slums, tele-serial production in Kinshasa, Hong Kong film, and the marketing of Bollywood

"Authorship is a complicated subject in Kierkegaard's work, which he surely recognized, given his late attempts to explain himself in On My Work as an Author. From the use of multiple pseudonyms and antonyms, to contributions across a spectrum of media and genres, issues of authorship abound.Why did Kierkegaard write in the ways he did? Before we assess Kierkegaard's famous thoughts on faith or love, or the relationship between 'the aesthetic,' 'the ethical,' and 'the religious,' we must approach how he expressed them. Given the multi-authored nature of his works, can we find a view or voice that is definitively Kierkegaard's own? Can entries in his unpublished journals and notebooks tell us what Kierkegaard himself thought? How should contemporary readers understand inconsistencies or contradictions between differently named authors? We cannot make definitive claims about Kierkegaard's work as a thinker without understanding Kierkegaard's work as an author. This collection, by leading contemporary Kierkegaard scholars, is the first to systematically examine the divisive question and practice of authorship in Kierkegaard from philosophical, literary and theological perspectives."-- Back cover

An expansive volume presenting crip approaches to writing, research, and publishing. Crip Authorship: Disability as Method is an expansive volume presenting the multidisciplinary methods brought into being by disability studies and activism. Mara Mills and Rebecca Sanchez have convened leading scholars, artists, and activists to explore the ways disability shapes authorship, transforming cultural production, aesthetics, and media. Starting from the premise that disability is plural and authorship spans composition, affect, and publishing, this collection of thirty-five compact essays asks how knowledge about disability is produced and shared in disability studies. Disability alters, generates, and dismantles method. Crip authorship takes place within and beyond the commodity version of authorship, in books, on social media, and in creative works that will never be published. The chapters draw on the expertise of international researchers and activists in the humanities, social sciences, education, arts, and design. Across five sections—Writing, Research, Genre/Form, Publishing, Media—contributors consider disability as method for creative work: practices of writing and other forms of composition; research methods and collaboration; crip aesthetics; media formats and hacks; and the capital, access, legal standing, and care networks required to publish. Designed to be accessible and engaging for students, Crip Authorship also provides theoretically sophisticated arguments in a condensed form that will make the text a key resource for disability studies scholars. Essays include Mel Y Chen on the temporality of writing with chronic illness; Remi Yergeau on perseveration; La Marr Jurelle Bruce on mad Black writing; Alison Kafer on the reliance of the manifesto genre on disability; Jaipreet Virdi on public scholarship for disability justice; Ellen Samuels on the importance of disability and illness to autotheory; Xuan Thuy Nguyen on decolonial research methods for disability studies; Emily Lim Rogers on virtual ethnography; Cameron Awkward-Rich on depression and trans reading methods; Robert McRuer on crip theory in translation; Kelsie Acton on plain language writing; and Georgina Kleege on description as an access and aesthetic technique.

This anthology of interdisciplinary essays critically examines the interlocking themes of artistic authorship, authenticity, and legacy from legal, art market, and art historical perspectives and is structured in three sections:00Part One: Authorship and Artists? Rights;0Part Two: The Artwork, Aura, and Authentication; 0Part Three: Legacy and Its Stewards.00The book addresses how artistic authorship is iterated over time by different actors, from the artist to the artist?s heirs to art experts. It is through the law that artists? rights of authorship are articulated and tested against collectors, dealers, museums, and even against other artists and photographers. It is increasingly through the law that conflicts are being resolved in the art market as it expands (at least at the high end) despite short-term dips across the world and as artistic production dramatically increases to meet demand often leading to legal disputes particularly between artists and collectors

This Element explores the sentiment and keyword features in both authorship profiling and authorship attribution in social media texts in the Chinese cultural context. The key findings can be summarised as follows: firstly, sentiment scores and keyword features are distinctive in delineating authors' gender and age. Specifically, female and younger authors tend to be less optimistic and use more personal pronouns and graduations than male and older authors, respectively. Secondly, these distinctive profiling features are also distinctive and significant in authorship attribution. Thirdly, our mindset, shaped by our inherent hormonal influences and external social experiences, plays a critical role in authorship. Theoretically, the findings expand authorship features into underexplored domains and substantiate the theory of mindset. Practically, the findings offer some broad quantitative benchmarks for authorship profiling cases in the Chinese cultural context, and perhaps other contexts where authorship profiling analyses have been used. This title is also available as Open Access on Cambridge Core.

Introduction: impossible liaisons? genre and feminist film criticism -- Subversive auteur, subversive genre -- Repeat to remake: Diablo Cody and Karyn Kusama's Jennifer's Body -- Hollywood transvestite: Kathryn Bigelow's The Hurt Locker -- Genre in the margins: Kelly Reichardt's Meek's Cutoff -- Genre on the surface: Sofia Coppola's Marie Antoinette -- What a woman wants?: Nancy Meyers's The Intern -- Afterword: desperately seeking wonder women

In this book, Jacob H. Sawyer explores the concept of hiddenness as a means to unlock the intriguing, and oft misunderstood, authorship of Soren Kierkegaard. By understanding the melancholy man as first and foremost a Christian thinker, this work gives special attention to how the form of Kierkegaard's authorial task complements its content, giving particular attention to his use of pseudonyms. The first part of the book addresses the explicit content of the authorship, the second addresses the implicit form in which it was communicated to Kierkegaard's reader, and the third addresses how thes

Der vorliegende Band berichtet über die bisherigen Aktivitäten des Instituts, seine Historie und Perspektiven und erlaubt darüber hinaus auch einen Blick hinter die Kulissen des Aufbaus eines Instituts in Afrika und auf die Lebensumstände und Eindrücke der Mitarbeiter.