academic writing
DESCRIPTION
Academic writingTRANSCRIPT
Akademsko pi{uvawe
D-r. Suzana Milevska
Uvod vo akademskoto pi{uvawe 1
(uvodno zapoznavawe so pravilata za strukturirawe i
kohezija na razli~nite akademski `anrovi)
© 2010 Suzana Milevska
Fakultet za likovni umetnosti
24.11.2011
16.30-19.30
• Jordan, R. R., Academic Writing. London: Collins ELT,
1990, 8-67.
• Keane, Rory and Mark Downes (eds). Academic Writing. A
Concise Guide for Students in Central and Eastern
Europe. Belgrade: CEP, 2003.
Literatura
Komu se obra}a akademskoto pismo?
Na akademskata publika sostavena pred
sè od drugi eksperti od istata oblast ili
akademski eksperti od drugi srodni
oblasti
• Why does a Letter always arrive at its Destination? Slavoj Zizek.
• Why, indeed? Why could it not — sometimes, at least — also fail to reach it?
• Far from attesting a refined theoretical sensitivity, this Derridean reaction to the famous closing statement of Lacan's "Seminar on 'The Purloined Letter'
• rather exhibits what we could call a primordial response of common sense: what if a letter does not reach its destination?
• Isn't it always possible for a letter to go astray?
• "A letter always arrives at its destination since its destination is wherever it arrives." (p.10)
an approach pointing to "imaginary misrecognition", in which one misrecognizes oneself as the addressee of a message and accepts it as having uncannily arrived at the right place
(Barbara Johnson, quoted in Zizek (Enjoy Your Symptom 1992)
• "the sender always receives from the receiver his own message in reverse form," and "the repressed always returns" (p.12)
a symbolic interpretation, in which the letter or message always says more than it intends to: the unintended effects of a signifier cannot be known until its consequences are enacted –
• "letter which always arrives at its destination" can be interpreted to mean that "one can never escape one's fate", or "the symbolic debt has to be repaid" (p.16).
a further symbolic interpretation related to the Lacanian concept of the Real
Razliki me|u akademskoto i
kreativnoto pi{uvawe
- fikcionalnost - vistinitost
- preciznost, fakti~ka to~nost
- sloboda vo upotrebata na figurativen govor
Razli~ni vidovi na akademski
`anrovi i tekstovi
1. proporcionalnost pome|u dol`ina, forma i
sodr`ina i funkcija,
2. struktura i kohezija
- seminarska rabota,
- esej,
- pregled na literaturata,
- apstrakt,
- poglavje,
- teza,
- recenzija,
- research and conference paper
- Kriti~ko ~itawe:
1. identifikuvajte gi tezite i celite na
avtorot
2. analizirajte ja strukturata na pasusite so
identifikuvawe na glavnite idei
3. konsultiraj re~nici i enciklopediii
4. napi{i skica i rezime so svoi zborovii
∙ Locirajte gi i vrednuvajte gi sredstvata koi gi upotrebil avtorot za da gi postigne svoite celi (da informira, kritikuva ili pobie nekoi tvrdewa)
∙ Dali materijalot bil prezentiran jasno, to~no, po red i koherentno
∙ Ako celta na tekstot e da nè ubedi baraj dokazi i lociraj gi najubedlivite tvrdewa, utvrdi go logi~koto rasuduvawe i kontradiktornite ili iracionalni tvrdewa
∙ Ako celta e da se predizvikaat ~uvstva kako se tie predizvikani, so koi sredstva, i dali predizvikanite ~uvstva korespondiraat so onie {to bile cel na avtorot
Pra{awa za razbirawe i pomnewe
Dodeka ~itate nov tekst zapi{ete gi
pra{awata so svoi zborovi za sekoj paragraf
Kontekstualizirawe:
∙ Smestuvawe na tekstot vo negoviot istoriski, biografski
i kulturen kontekst, no so ~itawe niz sopstvenoto iskustvo.
∙ Site tekstovi se napi{ani vo minatoto, no nie gi ~itame vo
sega{nosta.
∙ Da se ~ita kriti~ki zna~i da se kontekstualizira,
da se prepoznae razlikata me|u na{ite sovremeni vrednosti
i stavovi i onie {to se prezentirani vo tekstot.
Vrednuvawe na argumentite Testirawe na logikata na tekstot, negovata
kredibilnost, validnosta na argumentite i negovoto emotivno vlijanie
- site izjavi i argumenti moraat da bidat vrednuvani
(sekoj argument sodr`i tvrdewe i poddr{ka)
- sekoe tvrdewe podrazbira zaklu~ok - ideja, stav, sud, pogled,
koi avtorot saka da gi prifatite
- poddr{kata podrazbira rasuduvawe (spodeleni ubeduvawa,
pretpostavki i vrednosti i dokazi (fakti, primeri, statistika i
avtoriteti) koi na ~itatelot mu nudat baza za prifa}awe na
~itatelot
- koga procenuvate eden argument go zemate predid rasuduvaweto i
verodostojnosta
Potvrduvawe
preraska`uvawe na ona {to e ka`ano
∙Povtoruvawe na definicii i novi fakti
∙koga se soglasuvame so odredeni tvrdewa
∙koga se zboruva za tekst koj e op{to prifaten
kako kompletna i objektivna prezentacija na
svojot problem
∙koga stanuva zbor za poznat avtoritet za
odredena tema
EDEN ARGUMENT E PRIFATLIV
I VALIDEN SAMO AKO
- poddr{kata odgovara na tvrdeweto
- site tvrdewa se konzistentni edno na drugo
Deskripcija:
na ona {to se slu~uva vo tekstot
∙ koi temi i pra{awa se diskutiraat
∙ koi primeri se koristat
∙ do koi zaklu~oci doa|a avtorot
- izbor na tema/subjekt i formulirawe na naslov na tezata
- forma: struktura, povrzuvawe i kohezija
- proces i procedura
- pra{awa
- deskripcii na prostornost, objektnost i vreme
- definicii, egzemplifikaciii i klasifikacii
- komparacii i kontrast
- pri~ini i posledici, generalizacija, kvalifikacija i
izvesnost
- zaklu~ok
- izbor na tema/subjekt i formulirawe na naslov na tezata
a) glavna tema b) vremenski opseg (od-do)/period: renesansa, vizantiski, otomanski, tranzicija v) geografska ograni~enost: region, dr`ava, grad g) disciplina d) metodolo{ki pristap
1. UVOD
- objekt ili tema na istra`uvaweto
- izjava za problemot i kako }e
bide tretiran
2. RAZVOJ prezentirawe, analiza i diskusija
(prednosti i slabosti)
- glavna ideja
primeri + detali
- glavna ideja
primeri + detali
STRUKTURA
3. ZAKLU^OK Sumirawe na glavnite poenti,
sopstveni mislewa i odluki
SODR@INA
re~enici
pasusi
jazi~ni
funkcii
1. UVOD
- objekt ili tema na istra`uvaweto
- izjava za problemot i kako }e
bide tretiran
2. RAZVOJ prezentirawe, analiza i diskusija
(prednosti i slabosti)
- glavna ideja
primeri + detali
- glavna ideja
primeri + detali
STRUKTURA
3. ZAKLU^OK Sumirawe na glavnite poenti,
sopstveni mislewa i odluki
SODR@INA
re~enici
pasusi
jazi~ni
funkcii
uvod
dodatni
informacii
glaven razvoj na
argumentot
zaklu~ok
alternativni
predlozi
kontra
argumenti
glavni vidovi na
povrzuvawe:
“i”
“ili”
“no”
I - svrznici za rezultat, efekt ili konsekvenca -
pri~insko-posledi~na vrska
ottamu, taka, sledstveno, kako rezultat na....
ILI - svrznici za reformulacija
so drugi zborovi, poednostavno ka`ano (da
poednostavime), bi bilo podobro da se ka`e
NO - svrznici za koncesija (otstapuvawe)
sepak, i pokraj toa, iako, ionaka, seedno
Povrzuvawe na pasusi
- izbor na tema/subjekt i formulirawe na naslov na tezata
- forma: struktura, povrzuvawe i kohezija
- proces i procedura
- izbor na tema/subjekt i formulirawe na naslov na tezata
- forma: struktura, povrzuvawe i kohezija
- proces i procedura
- pra{awa
- izbor na tema/subjekt i formulirawe na naslov na tezata
- forma: struktura, povrzuvawe i kohezija
- proces i procedura
- pra{awa
a) pra{awata na koi avtorot na eden tekst ima namera da
najde odgovor
b) pra{awata koi bi trebalo da se postavat i ako avtorot
sè u{te nema odgovor
Dve predupreduvawa!
- Nikoga{ ne go zavr{uvaj tekstot so
pra{awe
- Izbegnuvaj premnogu pra{awa na koi
nema da odgovori{
- izbor na tema/subjekt i formulirawe na naslov na tezata
- forma: struktura, povrzuvawe i kohezija
- proces i procedura
- pra{awa
- deskripcii na prostornost, objektnost i vreme
Dva na~ina na govor
◄ Materijalen na~in: potvrduvawe na sostojba
Vremeto e promenlivo
◄ Demonstrativen ili formalen na~in na govor
potvrda na toa kako se opi{uvaat nekoi ne{ta i
sostojbi
Metereolozite najavuvaat promenlivo vreme
Tri razli~ni vida na indirekten opis:
◄ komparacija
so metafori~ka deskripcija:
{uma od vertikali
◄ kauzalno
karakterizacija na dela vo smisla na akcija koja bi predizvikala
takvo delo:
precizno, vnimatelno, senzitivno, elaborirano
◄ efekt
karakterizacija so zborovi koi opi{uvaat pretpostavena
akcija/vlijanie vrz gleda{ot/~itatelot:
neo~ekuvano, iznenaduva~ki, voznemiruva~ki
- izbor na tema/subjekt i formulirawe na naslov na tezata
- forma: struktura, povrzuvawe i kohezija
- proces i procedura
- pra{awa
- deskripcii na prostornost, objektnost i vreme
- definicii, egzemplifikaciii i klasifikacii
- definicii, egzemplifikaciii
i klasifikacii
- ednostavni definicii
- akademski definicii
- pro{ireni definicii
- A mo`e da bide ilustrirano (doka`ano, poka`ano) od B
- B ilustrira (doka`uva, poka`uva) deka A
- Slednive A i B se primeri na H
- pisatelite kako A, B, V
- izbor na tema/subjekt i formulirawe na naslov na tezata
- forma: struktura, povrzuvawe i kohezija
- proces i procedura
- pra{awa
- deskripcii na prostornost, objektnost i vreme
- definicii, egzemplifikaciii i klasifikacii
- komparacii i kontrast (sli~nosti i razliki)
- izbor na tema/subjekt i formulirawe na naslov na tezata
- forma: struktura, povrzuvawe i kohezija
- proces i procedura
- pra{awa
- deskripcii na prostornost, objektnost i vreme
- definicii, egzemplifikaciii i klasifikacii
- komparacii i kontrast
- pri~ini i posledici,
generalizacija, kvalifikacija i izvesnost
Deset sugestii za pi{uvawe na akademski tekst
1. Pi{uvaj precizno: jasno, to~no i eksplicitno
2. Koristi pravilen jazik: lingvisti~ki formulacii, gramatika, vokabular,
to~no speluvawe na stranski termini
3. Vnimatelno organiziraj go tekstot: uvod, razvoj, zaklu~ok
4. Pi{uvaj akademski: izbegnuvaj li~en pristap i kolokvijalni iskazi
5. Pi{uvaj koncizno i izbegnuvaj mnogu dolgi re~enici
6. Pi{uvaj racionalno, kriti~ki, objektivno i iskreno
7. Vnimatelno paragrafiraj go tekstot
8. Sekoga{ proveruvaj po nekolku pati (posebno naslovi, imiwa, godini, citati)
9. Izbegnuvaj povtoruvawa, kli{ea i op{ti mesta, `argonski frazi bez znak
na navodi, emotivni izlivi, neadekvatni primeri, preteruvawa, floskuli
10. Posebno vnimavaj na po~etniot pasus, na apstraktot, uvodot i zaklu~okot
Sugestii, soveti i pra{awa za prvi~no
pristapuvawe kon izborot na tezata:
opredeluvawe na temata i subjektot i
odreduvawe na naslovot
Literatura:
• Gibaldi, Joseph. MLA Handbook for Writers of Research Papers.
Sixth Edition.New York: The Modern Language Writers of
America, 2003.
• Hart, Chris. Doing a Literature Review. London: Sage Publications,
2003, 79-107.
• A Research Guide for Students (Citation Guides for Harvard Style,
Chicago Style, MLA Reference and Citation Style) 09.12.2007
<http://www.aresearchguide.com/styleguides.html>.
FUNKCIJA I VA@NOST
-na pregledot na literatura
-na pravilnoto koristewe na primarni,
sekundarni i tercijarni izvori
-na kontinuiranoto mapirawe i analizirawe na
lociranite idei
IZVORI
- stru~ni knigi,
- kni`evni dela,
- nau~ni tekstovi od akademski spisanija,
- magazini i vesnici,
- tekstovi od intrenet,
- data bazi,
- rezultati od sopstveni i tu|i istra`uvawa
- intervjua: transkribirani od audio zapis ili video
- predavawa i konferencii,
- neformalni razgovori,
- grafikoni,
- sopstveni, arhivski i objaveni fotografii
- filmovi i TV emisii, TV i filmski scenarija, romani, poezija,
usno narodno tvore{tvo
- likovni dela: sliki, grafiki, skulpturi, video, internet i drugi
digitalni proekti.
- pravila za najavuvawe i odjavuvawe na citat
- “prijavuvawe” na prezemeni citati
- razli~ni stilovi na citirawe i referenci
- referenci vo footnotes, endnotes i parentezi
- parafrazirawe
- bibliografija ili citirani dela
-
GRAMATIKATA NA CITIRAWE
Najava na citat ili parafraza
∙ Avtorot... ... vo svojot tekst ... ... tvrdi (:) deka
napi{a (pi{uva, }e napi{e):
pretpostavuva deka “…”
∙ Kako {to.. ... veli vo tekstot .. .. . :
∙ Tvrdeweto deka “.. … ….” {to se sretnuva kaj .. ..
vo tekstot ...
∙ Naprotiv, teoreti~arot.. ..za toj problem tvrdi .. ..
∙ Za razlika od nego .. .. misli
∙ Zatoa feministi~kata teoreti~arka.. .. se soglasuva so tvrdeweto na .. .. deka:
Odjavuvawe na citat
∙ “….. ..” pi{uva.. .... vo knigata ... ..
∙ “…” tvrdi ...... nasproti op{to
prifatenoto mislewe deka
∙ Koga .. ...izjavi deka “… …. …” taa ne
mo`e{e da pretpostavi deka toj stav...
Chicago Manual of Style / Turabian Style
Chicago Manual of Style / Turabian Style
Tekst vo spisanie, recenzija i tekst vo vesnik
• 1. Louise M. Rosenblatt, "The Transactional Theory:
Against Dualisms," College English 54 (1993): 380.
• 2. Steven Spitzer, review of The Limits of Law
Enforcement, by Hans Zeisel, American Journal of
Sociology 91 (1985): 727.
• Tyler Marshall, "200th Birthday of Grimms Celebrated,"
Los Angeles Times, 15 March 1985, sec. 1A, p. 3.
KNIGI
• Donald N. McCloskey, Enterprise and Trade in Victorian Britain: Essays in Historical Economics
(London: George Allen and Unwin, 1981), 54.
• Donald N. McCloskey, The Applied Theory of Price, 2nd ed. (New York: Macmillan, 1985), 24.
• Donald A. Lloyd and Harry R. Warfel, American English and Its Cultural Setting (New York: Alfred A. Knopf, 1956),
• Martin Greenberger et al., eds., Networks for Research and Education: Sharing of Computer and Information Resources Nationwide (Cambridge: MIT Press, 1974), 50.
• Unknown author 8. College Bound Seniors (Princeton: College Board Publications, 1979), 1.
• Helmut Thielicke, Man in God's World, trans. and ed. John W. Doberstein (New York: Harper and Row, 1963), 12.
• Gunnar Myrdal, Population: A Problem for Democracy (Cambridge: Harvard University Press, 1940; reprint, Gloucester, MA: Peter Smith, 1956),
• Poetical Works of William Wordsworth, ed. E. de Selincourt and H. Darbishire, 2nd ed., vol. 2 (Oxford: Oxford University Press, 1952), 10.
• Ernest Kaiser, "The Literature of Harlem," in Harlem: A Community in Transition, ed. J. H. Clarke (New York: Citadel Press, 1964), 64.
Edna kniga od istiot avtor
• 12. Ernest Kaiser, "The Literature of Harlem," in Harlem:
A Community in Transition, ed. J. H. Clarke (New York:
Citadel Press, 1964), 64.
• 21. Kaiser, 65.
Dve knigi od ist avtor
• 4. Donald N. McCloskey, Enterprise and Trade in
Victorian Britain: Essays in Historical Economics.
London: George Allen and Unwin, 1981), 54. 5. Donald
N. McCloskey, The Applied Theory of Price, 2nd ed.
(New York: Macmillan, 1985), 24.
• 22. McCloskey, Enterprise and Trade, 61.
MLA STYLE
• 1 Frank Feather, Canada's Best Careers Guide 2000 (Toronto: Warwick, 2000) 152-3. 1 Jerry
White, ed. Death and Taxes: Beating One of the Two Certainties in Life (Toronto: Warwick, 1998) 7-8.
• 2 R.D. Hogg and Michael G. Mallin, Preparing Your IncomeTax Returns: 2001 Edition for 2000 Returns (Toronto: CCH Canadian, 2001) 969:519.
• 2 Andrew Cohen and J.L. Granatstein, eds. Trudeau's Shadow: The Life and Legacy of Pierre Elliott Trudeau (Toronto: Random, 1998) 391.
• 3 Jack Canfield, et al., Chicken Soup for the Kid's Soul: 101 Stories of Courage, Hope and Laughter (Deerfield Beach, FL: Health Communications, 1998) 68.
• 3 Mans O. Larsson, et al., eds. Let's Go: Germany 1998 (New York: St. Martin's, 1998) 96-98.
• 4 The 1990 Charlton Coin Guide, 29th ed. (Toronto: Charlton, 1989) 39. 4 Microsoft PowerPoint Version 2002 Step by Step, (Redmond, WA: Perspection, 2001) 235.
• 5 Anne Frank: The Diary of a Young Girl, trans. M. Moyaart-Doubleday (Toronto: Bantam, 1993) 95.
• 6 Carmen DaSilva, "Life Insurance as a Tool for Estate Planning," Death and Taxes: Beating One of the Two Certainties in Life, ed. Jerry White (Toronto: Warwick, 1998) 57-71. 6 Maryann G. Valiulis, "Power, Gender and Identity in the Irish Free State," Irish Women's Voices Past and Present, ed. Joan Hoff and Moureen Coulter (Bloomington, IN: Indiana UP, 1995) 118.
Works Cited
Adams, Paul. "Furious Arafat Is Freed." Globe and Mail [Toronto] 2 May
2002: A1+.
"Beginner Tip: Presenting Your Page with Style." Webmaster Tips Newsletter. July 2000. NetMechanic. 13 Sept. 2004 <http://www.netmechanic.com/
news/vol3/beginner_no7.htm>.
Collins, Ronald K.L., and David M. Skover. The Trials of Lenny Bruce: The
Fall and Rise of an American Icon. Naperville, IL: Sourcebooks, 2002.
Continelli, Louise. "A Place for Owls to Heal." Buffalo News 12 Jan. 2003: C2.
"E-Money Slips Quietly into Oblivion." Nikkei Weekly [Tokyo] 22 Jan. 2001: 4.
Gordin, Michael D. "The Science of Vodka." Letter. New Yorker 13 Jan. 2003: 7.
"Ho Chi Minh." Encyclopaedia Britannica. 2004. Britannica.com. 15 Sept. 2004 <http://www.britannica.com>.
King, Stephen. Black House. New York: Random, 2001.
---. From a Buick 8: A Novel. New York: Simon & Schuster, 2002.
Law and Order. Prod. Wolf Film in assoc. with Universal Television. NBC Television
Network. WHEC, Rochester, NY. 13 Mar. 2003.
Adams, Paul. "Furious Arafat Is Freed." Globe and Mail [Toronto] 2 May
2002: A1+.
"Beginner Tip: Presenting Your Page with Style." Webmaster Tips Newsletter. July 2000. NetMechanic. 13 Sept. 2004 <http://www.netmechanic.com/
news/vol3/beginner_no7.htm>.
Collins, Ronald K.L., and David M. Skover. The Trials of Lenny Bruce: The
Fall and Rise of an American Icon. Naperville, IL: Sourcebooks, 2002.
Continelli, Louise. "A Place for Owls to Heal." Buffalo News 12 Jan. 2003: C2.
"E-Money Slips Quietly into Oblivion." Nikkei Weekly [Tokyo] 22 Jan. 2001: 4.
Gordin, Michael D. "The Science of Vodka." Letter. New Yorker 13 Jan. 2003: 7.
"Ho Chi Minh." Encyclopaedia Britannica. 2004. Britannica.com. 15 Sept. 2004 <http://www.britannica.com>.
King, Stephen. Black House. New York: Random, 2001.
---. From a Buick 8: A Novel. New York: Simon & Schuster, 2002.
ETIKATA NA CITIRAWE
-plagijarizam
-politikata na FLU i predmetot Estetika na 20 v
vo odnos kon plagijarizmot
Plagiarism, Writing Centre, Emily Carr Institute, 2 January 2008
< http://blogs.eciad.ca/wc/category/all-posts/page/2/>.
Let us say a student is writing a paper on the use of the ready-made object
in the context of European art.
She comes across an article in Afterimage written by Suzana Milevska,
published in January/February 2001,
called "The Ready-made and the Question of the Fabrication of Objects
and Subjects."
ORIGINAL
Today, the international art scene is moving dramatically in a new direction.
When it comes to participation in large international exhibitions, the growing tendency
has been to rely on the use of new technologies and new and serious obstacles have
been placed in front of artists coming from the East. The possible frustration of such
artists is derived from the usage of objects that are completely industrially produced or
even ordered to be produced. In the case of exhibiting ready-made objects, the
painter has been replaced by a machine. This proves that the motivation for ready-
made objects was closely related to production and fabrication (Swenson 130),
although, Marcel Duchamp, for one, did not have in mind any obsession or
glorification of the perfection and beauty of the ready-made: "When I discovered the
readymades I thought to discourage aesthetics"
(qtd. in De Duve 413).
A student writes:
Artists coming from the East are now facing new
and serious obstacles due to the use of new
technologies.
This is plagiarism. The words are not the
student's own. They have only been
rearranged slightly, and she has not given
Milevska proper credit for her ideas.
Lets say this same student chooses to give Milevska
credit for her ideas, but she simply changes the words
around:
According to Suzana Milevska, artists coming from the East
are now facing new and serious obstacles due to the use of
new technologies (1).
In this case the student would be guilty of poor
documentation - a form of plagiarizing.
Milevska didn't say this. The student is misquoting her.
She would have been much better off quoting the
source directly. There is nothing wrong with
saying this:
Suzana Milevska states that, "When it comes to
participation in large international exhibitions, the
growing tendency has been to rely on the use of new
technologies and new and serious obstacles have
been placed in front of artists coming from the East"
(1).
• In the process of paraphrasing, a student will often misquote the original source or change its meaning entirely. This can be extremely problematic. Lets say she chooses to write the following:
• Suzana Milevska states, "When Marcel Duchamp discovered the readymade, he thought he didn't like beautiful art" (1).
In the above case, she would not only be putting words
in Milevska's mouth, she wouldn't be doing Marcel
Duchamp any justice either. By placing these words in
quotation marks she is suggesting that Milevska said
exactly this. More than likely, her Art History instructor
will be familiar with Duchamp and this quote and he'll
stop and read it again, and again, perhaps check out the
source, and discover that Milevska never said this at all,
and neither, really, did Duchamp.
• If she wants to quote Duchamp, she should quote him directly. If the student wants her instructor to find the source of the quote, she can do this in one or two ways. She can write:
• In her discussion of Marcel Duchamp, Milevska suggests that the artist "did not have in mind any obsession or glorification of the perfection and beauty of the ready-made" (1). To support her claim, she cites Duchamp's rather famous quote, "When I discovered the readymades I thought to discourage aesthetics" (1).
• Or (providing it fits into the context of her writing) she could write the following:
• Marcel Duchamp insisted that "[w]hen I discovered the readymades I thought to discourage aesthetics" (qtd in Milevska 1).
Problemi pri pi{uvaweto za odredeni
socolo{kii, filosofski ili politi~ki
fenomeni ili pri opi{uvaweto na
umetni~ki dela
◄ deskriptivnost
◄ linearnost
◄ tavtologija
Postojni strukturi
◄ Nau~ni esei
◄ Razli~ni `anrovi na fikcija (beletristika) i
dokumentarna proza: raskazi, romani, drami,
scenarija, pisma, dnevnici, avtobiografii,
memoari i sl..
◄ Filosofski traktati
◄ Popularni magazini i spisanija
◄ Pop-kultura: TV, reklami, vicovi...
Filosofite nikoga{ ne se soglasija so edna
definicija okolu prirodata na povrzanosta pome|u
jazikot i realnosta;
Poto~no dali zborovite imaat zna~ewe razli~no od niv
samite ili se sosema nezavisni.
Vo sekoj slu~aj, korelacijata pome|u zborovite, objektite
i aktite e va`na za podobro razbirawe na ~ovekovata
konceptualizacija, reprezentacija i promena na svetot
◄ Pra{aweto na hierarhijata po va`nost
Jasno prika`i gi glavnite problemi vo tezata vo
uvodot, vo sekoe poglavje i vo zaklu~okot
- so najavuvawe
- so upotreba na topolo{ki re~enici
◄ objasnuvawe na klu~ni termini
◄ lektura na tekstovite ili tezata
Pra{awa
◄ upotreba na grafikoni, skici,
fotografii
◄ redosled na referencite
Komentari
Propusti :
- da se naslovi tekstot, da se potpi{e i da se vklu~at
podatoci za kursot i datata na predavaweto na tekstot
- da se objasnat terminite
- Redosled na referencite po azbu~en red,
- upotreba na italik, nepotrebni ili pogre{ni znaci,
• slobodni mesta...
Jovanovski Kole, “Filozofska antropologija”: Formi na ~ovekoviot odnos kon svoeto delo, (Kumanovo: Marida, 2000 god), 22
Ta{eva Marija, “Razvoj na op{testvena misla”: Op{testveni uslovi vo periodot na renesansata, ([tip: 2-ri Avgust,2005), 132
Mladenovski \or|e, “Antropologija”: Odnosot pome|u sociologijata i antropologijata,(Skopje: Krim, 2000), 33
Literatura:
• Gibaldi, Joseph. MLA Handbook for Writers of Research Papers.
Sixth Edition.New York: The Modern Language Writers of
America, 2003.
• Hart, Chris. Doing a Literature Review. London: Sage Publications,
2003, 79-107.
• A Research Guide for Students (Citation Guides for Harvard Style,
Chicago Style, MLA Reference and Citation Style) 09.12.2007
<http://www.aresearchguide.com/styleguides.html>.
FUNKCIJA I VA@NOST
-na pregledot na literatura
-na pravilnoto koristewe na primarni,
sekundarni i tercijarni izvori
-na kontinuiranoto mapirawe i analizirawe na
lociranite idei
IZVORI
- stru~ni knigi,
- kni`evni dela,
- nau~ni tekstovi od akademski spisanija,
- magazini i vesnici,
- tekstovi od intrenet,
- data bazi,
- rezultati od sopstveni i tu|i istra`uvawa
- intervjua: transkribirani od audio zapis ili video
- predavawa i konferencii,
- neformalni razgovori,
- grafikoni,
- sopstveni, arhivski i objaveni fotografii
- filmovi i TV emisii, TV i filmski scenarija, romani, poezija,
usno narodno tvore{tvo
- likovni dela: sliki, grafiki, skulpturi, video, internet i drugi
digitalni proekti.
- pravila za najavuvawe i odjavuvawe na citat
- “prijavuvawe” na prezemeni citati
- razli~ni stilovi na citirawe i referenci
- referenci vo footnotes, endnotes i parentezi
- parafrazirawe
- bibliografija ili citirani dela
-
GRAMATIKATA NA CITIRAWE
Najava na citat ili parafraza
∙ Avtorot... ... vo svojot tekst ... ... tvrdi (:) deka
napi{a (pi{uva, }e napi{e):
pretpostavuva deka “…”
∙ Kako {to.. ... veli vo tekstot .. .. . :
∙ Tvrdeweto deka “.. … ….” {to se sretnuva kaj .. ..
vo tekstot ...
∙ Naprotiv, teoreti~arot.. ..za toj problem tvrdi .. ..
∙ Za razlika od nego .. .. misli
∙ Zatoa feministi~kata teoreti~arka.. .. se soglasuva so tvrdeweto na .. .. deka:
Odjavuvawe na citat
∙ “….. ..” pi{uva.. .... vo knigata ... ..
∙ “…” tvrdi ...... nasproti op{to
prifatenoto mislewe deka
∙ Koga .. ...izjavi deka “… …. …” taa ne
mo`e{e da pretpostavi deka toj stav...
Chicago Manual of Style / Turabian Style
Chicago Manual of Style / Turabian Style
Tekst vo spisanie, recenzija i tekst vo vesnik
• 1. Louise M. Rosenblatt, "The Transactional Theory:
Against Dualisms," College English 54 (1993): 380.
• 2. Steven Spitzer, review of The Limits of Law
Enforcement, by Hans Zeisel, American Journal of
Sociology 91 (1985): 727.
• Tyler Marshall, "200th Birthday of Grimms Celebrated,"
Los Angeles Times, 15 March 1985, sec. 1A, p. 3.
KNIGI
• Donald N. McCloskey, Enterprise and Trade in Victorian Britain: Essays in Historical Economics
(London: George Allen and Unwin, 1981), 54.
• Donald N. McCloskey, The Applied Theory of Price, 2nd ed. (New York: Macmillan, 1985), 24.
• Donald A. Lloyd and Harry R. Warfel, American English and Its Cultural Setting (New York: Alfred A. Knopf, 1956),
• Martin Greenberger et al., eds., Networks for Research and Education: Sharing of Computer and Information Resources Nationwide (Cambridge: MIT Press, 1974), 50.
• Unknown author 8. College Bound Seniors (Princeton: College Board Publications, 1979), 1.
• Helmut Thielicke, Man in God's World, trans. and ed. John W. Doberstein (New York: Harper and Row, 1963), 12.
• Gunnar Myrdal, Population: A Problem for Democracy (Cambridge: Harvard University Press, 1940; reprint, Gloucester, MA: Peter Smith, 1956),
• Poetical Works of William Wordsworth, ed. E. de Selincourt and H. Darbishire, 2nd ed., vol. 2 (Oxford: Oxford University Press, 1952), 10.
• Ernest Kaiser, "The Literature of Harlem," in Harlem: A Community in Transition, ed. J. H. Clarke (New York: Citadel Press, 1964), 64.
Edna kniga od istiot avtor
• 12. Ernest Kaiser, "The Literature of Harlem," in Harlem:
A Community in Transition, ed. J. H. Clarke (New York:
Citadel Press, 1964), 64.
• 21. Kaiser, 65.
Dve knigi od ist avtor
• 4. Donald N. McCloskey, Enterprise and Trade in
Victorian Britain: Essays in Historical Economics.
London: George Allen and Unwin, 1981), 54. 5. Donald
N. McCloskey, The Applied Theory of Price, 2nd ed.
(New York: Macmillan, 1985), 24.
• 22. McCloskey, Enterprise and Trade, 61.
Plagiarism, Writing Centre, Emily Carr Institute, 2 January 2008
< http://blogs.eciad.ca/wc/category/all-posts/page/2/>.
Let us say a student is writing a paper on the use of the ready-made object
in the context of European art.
She comes across an article in Afterimage written by Suzana Milevska,
published in January/February 2001,
called "The Ready-made and the Question of the Fabrication of Objects
and Subjects."
ORIGINAL
Today, the international art scene is moving dramatically in a new direction.
When it comes to participation in large international exhibitions, the growing tendency
has been to rely on the use of new technologies and new and serious obstacles have
been placed in front of artists coming from the East. The possible frustration of such
artists is derived from the usage of objects that are completely industrially produced or
even ordered to be produced. In the case of exhibiting ready-made objects, the
painter
has been replaced by a machine. This proves that the motivation for ready-made
objects was closely related to production and fabrication (Swenson 130), although,
Marcel Duchamp, for one, did not have in mind any obsession or glorification of the
perfection and beauty of the ready-made: "When I discovered the readymades I
thought to discourage aesthetics"
(qtd. in De Duve 413).
A student writes:
Artists coming from the East are now facing new
and serious obstacles due to the use of new
technologies.
This is plagiarism. The words are not the
student's own. They have only been
rearranged slightly, and she has not given
Milevska proper credit for her ideas.
Lets say this same student chooses to give Milevska
credit for her ideas, but she simply changes the words
around:
According to Suzana Milevska, artists coming from the East
are now facing new and serious obstacles due to the use of
new technologies (1).
In this case the student would be guilty of poor
documentation - a form of plagiarizing.
Milevska didn't say this. The student is misquoting her.
She would have been much better off quoting the
source directly. There is nothing wrong with
saying this:
Suzana Milevska states that, "When it comes to
participation in large international exhibitions, the
growing tendency has been to rely on the use of new
technologies and new and serious obstacles have
been placed in front of artists coming from the East"
(1).
• In the process of paraphrasing, a student will often misquote the original source or change its meaning entirely. This can be extremely problematic. Lets say she chooses to write the following:
• Suzana Milevska states, "When Marcel Duchamp discovered the readymade, he thought he didn't like beautiful art" (1).
In the above case, she would not only be putting words
in Milevska's mouth, she wouldn't be doing Marcel
Duchamp any justice either. By placing these words in
quotation marks she is suggesting that Milevska said
exactly this. More than likely, her Art History instructor
will be familiar with Duchamp and this quote and he'll
stop and read it again, and again, perhaps check out the
source, and discover that Milevska never said this at all,
and neither, really, did Duchamp.
• If she wants to quote Duchamp, she should quote him directly. If the student wants her instructor to find the source of the quote, she can do this in one or two ways. She can write:
• In her discussion of Marcel Duchamp, Milevska suggests that the artist "did not have in mind any obsession or glorification of the perfection and beauty of the ready-made" (1). To support her claim, she cites Duchamp's rather famous quote, "When I discovered the readymades I thought to discourage aesthetics" (1).
• Or (providing it fits into the context of her writing) she could write the following:
• Marcel Duchamp insisted that "[w]hen I discovered the readymades I thought to discourage aesthetics" (qtd in Milevska 1).