Fakultet za likovni umetnosti

Akademsko pi{uvawe
24.11.2011

D-r. Suzana Milevska

16.30-19.30

Uvod vo akademskoto pi{uvawe 1

(uvodno zapoznavawe so pravilata za strukturirawe i kohezija na razli~nite akademski `anrovi) 2010 Suzana Milevska

Literatura

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.

Komu se obra}a akademskoto pismo?

Na akademskata publika sostavena pred s 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 n 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

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

- izbor na tema/subjekt i formulirawe na naslov na tezata

- 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

- izbor na tema/subjekt i formulirawe na naslov na tezata

- forma: struktura, povrzuvawe i kohezija

STRUKTURA
1. UVOD

SODR@INA

re~enici - objekt ili tema na istra`uvaweto - izjava za problemot i kako }e bide tretiran pasusi 2. RAZVOJ
prezentirawe, analiza i diskusija (prednosti i slabosti) - glavna ideja primeri + detali - glavna ideja primeri + detali

jazi~ni funkcii

3. ZAKLU^OK
Sumirawe na glavnite poenti, sopstveni mislewa i odluki

STRUKTURA
1. UVOD

SODR@INA

re~enici - objekt ili tema na istra`uvaweto - izjava za problemot i kako }e bide tretiran pasusi 2. RAZVOJ
prezentirawe, analiza i diskusija (prednosti i slabosti) - glavna ideja primeri + detali - glavna ideja primeri + detali

jazi~ni funkcii

3. ZAKLU^OK
Sumirawe na glavnite poenti, sopstveni mislewa i odluki

glavni vidovi na povrzuvawe: i ili no

uvod

dodatni informacii kontra argumenti

glaven razvoj na argumentot

alternativni predlozi

zaklu~ok

Povrzuvawe na pasusi
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

- 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 s 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{

- 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

- deskripcii na prostornost, objektnost i vreme

fizi~ki opisi

- deskripcii na prostornost, objektnost i vreme

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

- 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

zaklu~ok/zaklu~uvawe

Deset sugestii za pi{uvawe na akademski tekst

1.
2.

Pi{uvaj precizno: jasno, to~no i eksplicitno

Koristi pravilen jazik: lingvisti~ki formulacii, gramatika, vokabular, to~no speluvawe na stranski termini Vnimatelno organiziraj go tekstot: uvod, razvoj, zaklu~ok Pi{uvaj akademski: izbegnuvaj li~en pristap i kolokvijalni iskazi Pi{uvaj koncizno i izbegnuvaj mnogu dolgi re~enici

3. 4. 5.

6.
7. 8. 9.

Pi{uvaj racionalno, kriti~ki, objektivno i iskreno

Vnimatelno paragrafiraj go tekstot Sekoga{ proveruvaj po nekolku pati (posebno naslovi, imiwa, godini, citati) Izbegnuvaj povtoruvawa, kli{ea i op{ti mesta, `argonski frazi bez znak na navodi, emotivni izlivi, neadekvatni primeri, preteruvawa, floskuli Posebno vnimavaj na po~etniot pasus, na apstraktot, uvodot i zaklu~okot

10.

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, - 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.

GRAMATIKATA NA CITIRAWE

- 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

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.

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.

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.

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 readymade 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 readymade" (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?

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

Pra{awa

objasnuvawe na klu~ni termini lektura na tekstovite ili tezata 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, - 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.

GRAMATIKATA NA CITIRAWE

- 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

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.

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 readymade" (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).