Plagiarism, originality, assemblage

Johnson-Eilola, Johndan; Selber, Stuart A.

doi:10.1016/j.compcom.2007.08.003

Cited by 66 publications

(20 citation statements)

References 17 publications

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“…A traditional designer of a new resource might survey the field to identify existing resources as a source of inspiration or reference, but copyright limitations or an emphasis on novelty might prevent one from envisioning these as elements to be incorporated beyond citation or reference (Johnson-Eilola & Selber, 2007). The OER cycle, on the other hand, begins precisely with the idea that resources can be adapted and adopted.…”

Section: Methodsmentioning

confidence: 99%

Identifying barriers to the remix of translated open educational resources

Amiel

2013

IRRODL

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Remix is touted as one of the most important practices within the field of open educational resources (OER). But remixing is still not mainstream practice in education and the barriers and limitations to remix are not well known. In this article we discuss the design and development of a print and web-based booklet created to introduce the topic of OER to schoolteachers. The guide, the first of its kind available in Portuguese, was created through the remix and translation of existing resources available in English.Choosing design-as-remix raised a series of concerns related to licensing, attribution, context, and technical standards. In this article we review the concerns related to culture and inequity within the OER movement, followed by the design choices and procedures, and finally the implications of these issues for the open educational resources movement.

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Section: Methodsmentioning

confidence: 99%

Identifying barriers to the remix of translated open educational resources

Amiel

2013

IRRODL

View full text Add to dashboard Cite

show abstract

“…The researchers found a total of seven generic types of originality: original approach, understudied area, original topic, original theory, original method, original data, and original results. Their categories for originality correspond with other categories identified in scholarship, which include original pursuits (Russell, 1991), breaking consensus (Kaufer & Geiseler, 1989), how a topic is "selected and problematized" (Berkenkotter & Huckin, 1995, p. 109), bisociation 2 (Hellqvist, 2010), what is produced by the student in his or her "interaction with the text in the process of writing" (Johnson & Clerehan, 2005, p. 44), and making something new from what already exists (Johnson-Eilola & Selber, 2007).…”

Section: Categories Of Originalitymentioning

confidence: 75%

“…supporting claims made by Johnson-Eilola & Selber (2007) and DeVoss & Rosati (2002) that students equate originality with fewer sources and that original writing is prized over writing that comes from sources.…”

Section: Cholinmentioning

confidence: 85%

“…As Johnson-Eilola and Selber (2007) indicate, instructors feel compelled to instruct "their students to produce what are considered thoroughly 'original' texts" (p.…”

Section: 'Originality' and Anxiety In Compositionmentioning

confidence: 99%

“…In response to the frustrations and struggles experienced by students like Paige and Nora, many scholars in Composition Studies have argued for the introduction of remix into composition pedagogy (Hendricks & Quinn, 2000;Hess, 2006;Johnson & Clerehan, 2005;Johnson-Eilola & Selber, 2007). Remix and its various iterationssampling, assemblage, and so forth-could serve to disrupt student notions of originality by offering a more intertextual understanding of both language and meaning.…”

Section: 'Originality' and Anxiety In Compositionmentioning

confidence: 99%

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