Academic Writing

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 ànrovi)

© 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

ànrovi i tekstovi

1. proporcionalnost pome|u dolìna, forma i

sodrìna 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 sodrì 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

preraskaùvawe na ona {to e kaàno

∙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

Interpretacija:

∙ analiza na zna~eweto na tekstot

∙ povtoruvawe - analizirawe

- 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



a) glavna tema b) vremenski opseg (od-do)/period: renesansa, vizantiski, otomanski, tranzicija v) geografska ograni~enost: region, dràva, grad g) disciplina d) metodolo{ki pristap



1. UVOD

- objekt ili tema na istraùvaweto

- 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. ZAKLUÔK Sumirawe na glavnite poenti,

sopstveni mislewa i odluki

SODR@INA

re~enici

pasusi

jazi~ni

funkcii

1. UVOD

- objekt ili tema na istraùvaweto

- 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. ZAKLUÔK 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 kaàno (da

poednostavime), bi bilo podobro da se kaè

NO - svrznici za koncesija (otstapuvawe)

sepak, i pokraj toa, iako, ionaka, seedno

Povrzuvawe na pasusi







- pra{awa




- 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!

Dve predupreduvawa!

- Nikoga{ ne go zavr{uvaj tekstot so

pra{awe

Dve predupreduvawa!

- Nikoga{ ne go zavr{uvaj tekstot so

pra{awe

- Izbegnuvaj premnogu pra{awa na koi

nema da odgovori{




- pra{awa



fizi~ki opisi


fizi~ki opisi narativi

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




- pra{awa



- definicii, egzemplifikaciii

i klasifikacii

- ednostavni definicii

- akademski definicii

- pro{ireni definicii

- A moè da bide ilustrirano (dokaàno, pokaàno) od B

- B ilustrira (dokaùva, pokaùva) deka A

- Slednive A i B se primeri na H

- pisatelite kako A, B, V




- pra{awa



- komparacii i kontrast (sli~nosti i razliki)




- pra{awa



- komparacii i kontrast

- pri~ini i posledici,

generalizacija, kvalifikacija i izvesnost

- zaklu~ok/zaklu~uvawe

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, àrgonski 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

Koristewe na izvori i citirawe

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,

- knièvni dela,

- nau~ni tekstovi od akademski spisanija,

- magazini i vesnici,

- tekstovi od intrenet,

- data bazi,

- rezultati od sopstveni i tu|i istraùvawa

- 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

moè{e da pretpostavi deka toj stav...

Chicago Manual of Style / Turabian Style

http://www.amazon.com/exec/obidos/ASIN/0226104036/ref=nosim/aresearchguid-20

http://www.aresearchguide.com/styleguides.html


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).

Da se pronajde sopstveniot glas:

akademskoto pi{uvawe i performativnosta

◄ interdisciplinarno pi{uvawe

◄ performativno pi{uvawe

◄ Nedovolnost na jazikot

Problemi pri pi{uvaweto za odredeni

socolo{kii, filosofski ili politi~ki

fenomeni ili pri opi{uvaweto na

umetni~ki dela

◄ deskriptivnost

◄ linearnost

◄ tavtologija

Kako da se pronajde sopstveniot glas?

Kako da se pronajde sopstveniot glas?

Postojni strukturi

◄ Nau~ni esei

◄ Razli~ni ànrovi 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 prikaì 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

Akademsko pi{uvawe

Doc. d-r. Suzana Milevska

Master ~as 2: Koristewe na izvori i citirawe

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,

- knièvni dela,

- nau~ni tekstovi od akademski spisanija,

- magazini i vesnici,

- tekstovi od intrenet,

- data bazi,

- rezultati od sopstveni i tu|i istraùvawa

- 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

moè{e da pretpostavi deka toj stav...


http://www.amazon.com/exec/obidos/ASIN/0226104036/ref=nosim/aresearchguid-20



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.

ETIKATA NA CITIRAWE

-plagijarizam

-politikata na Rodovite studii 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).

Documents

Academic Writing