LENSES ON COMPOSITION STUDIES Edited by Sheryl I. Fontaine and
Steve Westbrook Most treatments of plagiarism as part of
undergraduate education deal with the issue in an overly simplistic
and misleading fashion, tending to imply that plagiarism is a
concept easily understood and easily avoided, casting the problem
as an ethical issue-a choice between honesty and dishonesty-and/or
as a technical issue, best avoided by attention to appropriate
citation formats. Edited by Michael Donnelly, Rebecca Ingalls,
Tracy Ann Morse, Joanna Castner Post, and Anne Meade
Stockdell-Giesler, CRITICAL CONVERSATIONS ABOUT PLAGIARISM instead
invites students and teachers to engage in deep, critical
discussions about a complicated topic in ways that are both
accessible and intellectually challenging. The essays address a
range of complex, interrelated ideas, concepts, and issues:
theories about knowledge creation and ideas about authorship;
issues of collaboration, borrowing, remixing, and plagiarism;
copyright and intellectual property; historical constructions of
authorship; student and teacher identities and roles;
cross-cultural perspectives on plagiarism; and the impact of new
technologies. Contributors include Phillip Marzluf, Jessica Reyman,
Esra Mirze Santesso, Paul Parker, Richard Schur, Martine Courant
Rife, Danielle Nicole DeVoss, Deborah Harris-Moore, Sean Zwagerman,
Bridget M. Marshall, Rachel Knaizer, Lise Buranen, and Anne-Marie
Pedersen. Rather than speak down to students about what they don't
know or understand, these essays invite students to explore and
discuss in depth the controversies about plagiarism that writers
constantly negotiate across a variety of contexts. CRITICAL
CONVERSATIONS ABOUT PLAGIARISM makes such discussions accessible to
undergraduate and graduate students, and, at the same time, it
provides teachers with tools for facilitating those conversations.
CRITICAL CONVERSATIONS ABOUT PLAGIARISM is the second volume in
Parlor Press's LENSES ON COMPOSITION STUDIES series, which features
texts written specifically for upper-level undergraduate and
entry-level graduate courses in composition studies.
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