Medical and scientific authorship: a conflict between discipline rules and the law

When the results of medical collaborations are to be published, questions of authorship arise. Which members of the research team are to be acknowledged as authors of the paper? In what order are they to be acknowledged? Institutional rules will generally determine the attribution of authorship to members of the research team. However those rules are most unlikely to be consistent with the legal rules governing authorship and its attribution, most of which will apply regardless of a team’s adherence to institutional rules. This article examines the meaning of authorship in the medical community, and in the legal community under the copyright laws. It considers various formulations of the institutional rules governing authorship, as well as editorial practices. Through consideration of a hypothetical scenario, the consequences of the disparity between authorship norms in law and in medicine are elaborated.

Authorship, Collaboration, and Funding Trends in Implantology Literature: Analysis of Five Journals From 2005 to 2009

Purpose: To identify the trend of authorship in dental implant by exploring the prevalence of coauthored articles and to investigate the collaboration efforts, trends in funding involved in original articles, and their relationships. Materials: Articles published in the Clinical Oral Implants Research, International Journal of Oral & Maxillofacial Implants, Clinical Implant Dentistry and Related Research, Implant Dentistry, and Journal of Oral Implantology from 2005 to 2009 were reviewed. Nonoriginal articles were excluded. For each included articles, number of authors, collaboration efforts, and extramural funding were recorded. Descriptive and analytical statistics (alpha = 0.05), including logistic regression analysis and chi(2) test, were used. Results: From a total of 2085 articles, 1503 met the inclusion criteria. Publications with 5 or more authors increased over time (P = 0.813). The amount of collaboration among different disciplines, institutions, and countries all increased. The greatest increase of collaboration was seen among institutions (P = 0.09). Non-funding studies decreased over time (P = 0.031). There was a strong association between collaboration and funding for the manuscripts during the years studied (OR, 1.5). Conclusion: The number of authors per articles and collaborative studies increased over time in implant-related journals. Collaborative studies were more likely to be funded. (Implant Dent 2011;20:68-75)

Dal teatro alla performance e ritorno. La svolta performativa nel teatro contemporaneo e la svolta teatrale nella performance art

Il fulcro tematico e concettuale della tesi consiste nel rapporto complesso, paradossale e spesso anche controverso esistente fra il teatro e la performance (art) – e cioè il rapporto fra i concetti di “teatralità” e di “performatività”. L’attenzione è posta su quelle correnti nelle arti performative contemporanee che tendono allo scioglimento delle nozioni di genere, disciplina, tecnica e autorialità e che mettono in questione lo status stesso dell’opera performativa (lo spettacolo) in quanto prodotto esclusivamente estetico, cioè spettacolare. Vengono esaminate – prelevando rispettivamente dal campo del teatro, della danza e della performance art – le pratiche di Jerzy Grotowski e Thomas Richards, Jérôme Bel e Marina Abramović. Quello che accomuna queste pratiche ben diverse tra loro non è soltanto la problematica del rapporto fra teatralità e performatività ma soprattutto l’aspetto particolarmente radicale e assiduo (e anche paradossale) del loro doppio sforzo, che consiste nello spingere la propria disciplina oltre ogni confine prestabilito e nello stesso tempo nel cercare di ri-definire i suoi codici fondanti e lo statuto ontologico che la distinguerebbero dalle altre discipline performative. Sono esaminate anche diverse teorizzazioni della performance con particolare attenzione a quei contributi che mettono in luce (e in questione) il delicato rapporto fra il teatro e la performance (art) attraverso una (ri)concettualizzazione e comparazione dei termini di teatralità e di performatività. La tesi esamina l’evoluzione della comprensione di quel rapporto all’interno del campo teorico-storico e artistico che inizialmente riflette la tendenza a percepire il rapporto in termini di opposizione e addirittura esclusione per approdare col tempo a una visione più riconciliante e complementare. Le radicali pratiche contemporanee fra il teatro e la performance rappresentano forse una nuova forma-processo performativa specifica e autonoma – che potrebbe essere definita tout court “performance” – e con cui viene definitivamente superato il progetto teatrale modernista?

'Initiators of Discursive Practices': Authorship, attribution, and intent in the debates between philosophes and anti-philosophes

This article focuses on the “social side” of pseudonymity—on how writers and readers compete to influence the critical destiny of a pseudonymous work. By analyzing pseudonymity and attribution in both the specific context of Voltaire’s 1760 staging of the play, Le café ou l’écossaise, and in larger debates in the emerging fields of anonymity, pseudonymity, and attribution studies, I hope to show how literary scholars at present can address the individuality of each pseudonymous case while not letting go of trans-historical, general problems of anonymous strategies. Voltaire’s use of multiple pseudonyms before and after releasing L’Ecossaise, a comédie sérieuse in which Voltaire attacks his enemy Elie-Cathérine Fréron, supports his philosophe friends at a crucial moment in history, and exemplifies his emerging taste for serious comedy and British drama calls into question traditional takes on pseudonymity, anonymity, and attribution by refusing to fit into the binary arguments of anonymous vs. attributed and authorial intent vs. the reader’s control.

Engaged Learning: Enabling Self-Authorship and Effective Practice

There is now broad consensus that higher education must extend beyond content-based knowledge to encompass intellectual and practical skills, personal and social responsibility, and integrative learning. The college learning outcomes needed for success in 21st century life include critical thinking, a coherent sense of self, intercultural maturity, civic engagement, and the capacity for mutual relationships. Yet, research suggests that college students are struggling to achieve these outcomes in part because skills needed to succeed in college are not those needed to succeed upon graduation. One reason for this gap is that these college learning outcomes require complex developmental capacities or “self-authorship” that higher education is not currently designed to promote.

Authorising History: Gestures of Authorship in Fourteenth-Century English Historiography

This book discusses the strategies and rhetorical means by which four authors of Middle English verse historiography seek to authorise their works and themselves. Paying careful attention to the texts, it traces the ways in which authors inscribe their fictional selves and seek to give authority to their constructions of history. It further investigates how the authors position themselves in relation to their task of writing history, their sources and their audiences. This study provides new insights into the processes of the appropriation of history around 1300 by social groups whose lack of the relevant languages, before this 'anglicising' of the dominant Latin and French history constructions, prevented their access to the history of the British isles.