plagiarism assoc. prof. dr. Şehnaz Şahinkarakaş. g eneral things to remember while writing ! (...

PLAGIARISMAssoc. Prof. Dr. Şehnaz Şahinkarakaş

GENERAL THİNGS TO REMEMBER WHİLE WRİTİNG! (FROM PURDUE UNİVERSİTY)

1. Develop a topic based on what has already been said and writtenBUTWrite something new and original

2. Rely on experts’ and authorities’ opinionsBUTImprove on and/or disagree with those same opinions

3. Give credit to previous researchersBUTMake your own significant contributions

4. Improve your English to fit into a discourse community by building upon what you hear and readBUT Use your own words and your own voice

WHAT İS PLAGİARİSM?

Buying Stealing Borrowing a paper (including copying an entire paper or article

from the web) Hiring someone to write your paper for you Copying large sections of text from a source

without quotations marks or proper citation Using the words of a source too closely when

paraphrasing (without quotations) Building on someone’s ideas without citing

their spoken or written work

WHEN DO WE NOT NEED TO CİTE?

Writing our own experiences, observations, thoughts, conclusions

Writing our own results from our analysis

While using our own videos, audios, etc.

While using ‘common knowledge’: folklore, myths, historical events (not historical documents)

When using generally-accepted facts

HOW DO DECİDE İF STH İS COMMON KNOWLEDGE

If you find the same information undocumented in at least five credible sources

If you think your readers will already know the information

If you think a person can easily find it in general reference sources

PS: If in doubt, CITE!!

PLAGIARISM EXAMPLES(taken from Princeton University)

Sample 1Original source (text)Kernan, A. (1979).The Playwright as Magician. New Haven: Yale

University Press, 1979.

From time to time this submerged or latent theater in becomes almost overt. It is close to the surface in Hamlet’s pretense of madness, the “antic disposition” he puts on to protect himself and prevent his antagonists from plucking out the heart of his mystery. It is even closer to the surface when Hamlet enters his mother’s room and holds up, side by side, the pictures of the two kings, Old Hamlet and Claudius, and proceeds to describe for her the true nature of the choice she has made, presenting truth by means of a show. Similarly, when he leaps into the open grave at Ophelia’s funeral, ranting in high heroic terms, he is acting out for Laertes, and perhaps for himself as well, the folly of excessive, melodramatic expressions of grief.

Sample 1Original source (text)


Verbatim plagiarism, or unacknowledged direct quotation (lifted passages are underlined)Almost all of Shakespeare’s Hamlet can be understood as a play about acting and the theater. For example, there is Hamlet’s pretense of madness, the “antic disposition” that he puts on to protect himself and prevent his antagonists from plucking out the heart of his mystery. When Hamlet enters his mother’s room, he holds up, side by side, the pictures of the two kings, Old Hamlet and Claudius, and proceeds to describe for her the true nature of the choice she has made, presenting truth by means of a show. Similarly, when he leaps into the open grave at Ophelia’s funeral, ranting in high heroic terms, he is acting out for Laertes, and perhaps for himself as well, the folly of excessive, melodramatic expressions of grief.



Verbatim plagiarism, or unacknowledged direct quotation (lifted passages are underlined)Almost all of Shakespeare’s Hamlet can be understood as a play about acting and the theater. For example, there is Hamlet’s pretense of madness, the “antic disposition” that he puts on to protect himself and prevent his antagonists from plucking out the heart of his mystery. When Hamlet enters his mother’s room, he holds up, side by side, the pictures of the two kings, Old Hamlet and Claudius, and proceeds to describe for her the true nature of the choice she has made, presenting truth by means of a show. Similarly, when he leaps into the open grave at Ophelia’s funeral, ranting in high heroic terms, he is acting out for Laertes, and perhaps for himself as well, the folly of excessive, melodramatic expressions of grief.

Almost entire passage is taken word-for-word from the source; no quoting


From time to time this submerged or latent theater in Hamlet becomes almost overt. It is close to the surface in Hamlet’s pretense of madness, the “antic disposition” he puts on to protect himself and prevent his antagonists from plucking out the heart of his mystery. It is even closer to the surface when Hamlet enters his mother’s room and holds up, side by side, the pictures of the two kings, Old Hamlet and Claudius, and proceeds to describe for her the true nature of the choice she has made, presenting truth by means of a show. Similarly, when he leaps into the open grave at Ophelia’s funeral, ranting in high heroic terms, he is acting out for Laertes, and perhaps for himself as well, the folly of excessive, melodramatic expressions of grief.

Lifting selected passages and phrases without proper acknowledgment (lifted passages are underlined)Almost all of Shakespeare’s Hamlet can be understood as a play about acting and the theater. For example, in Act 1, Hamlet adopts a pretense of madness that he uses to protect himself and prevent his antagonists from discovering his mission to revenge his father’s murder. He also presents truth by means of a show when he compares the portraits of Gertrude’s two husbands in order to describe for her the true nature of the choice she has made. And when he leaps in Ophelia’s open grave ranting in high heroic terms, Hamlet is acting out the folly of excessive, melodramatic expressions of grief.



Lifting selected passages and phrases without proper acknowledgment (lifted passages are underlined)Almost all of Shakespeare’s Hamlet can be understood as a play about acting and the theater. For example, in Act 1, Hamlet adopts a pretense of madness that he uses to protect himself and prevent his antagonists from discovering his mission to revenge his father’s murder. He also presents truth by means of a show when he compares the portraits of Gertrude’s two husbands in order to describe for her the true nature of the choice she has made. And when he leaps in Ophelia’s open grave ranting in high heroic terms, Hamlet is acting out the folly of excessive, melodramatic expressions of grief.

Much of the paragraph rewritten, and fewer phrases lifted verbatim; still plagiarism: no quotations and no citing the author. Even use of only “high heroic terms” requires citation



Paraphrasing the text while maintaining the basic paragraph and sentence structureAlmost all of Shakespeare’s Hamlet can be understood as a play about acting and the theater. For example, in Act 1, Hamlet pretends to be insane in order to make sure his enemies do not discover his mission to revenge his father’s murder. The theme is even more obvious when Hamlet compares the pictures of his mother’s two husbands to show her what a bad choice she has made, using their images to reveal the truth. Also, when he jumps into Ophelia’s grave, hurling his challenge to Laertes, Hamlet demonstrates the foolishness of exaggerated expressions of emotion.



Paraphrasing the text while maintaining the basic paragraph and sentence structureAlmost all of Shakespeare’s Hamlet can be understood as a play about acting and the theater. For example, in Act 1, Hamlet pretends to be insane in order to make sure his enemies do not discover his mission to revenge his father’s murder. The theme is even more obvious when Hamlet compares the pictures of his mother’s two husbands to show her what a bad choice she has made, using their images to reveal the truth. Also, when he jumps into Ophelia’s grave, hurling his challenge to Laertes, Hamlet demonstrates the foolishness of exaggerated expressions of emotion.

No original language remains, but key idea, choice and order of examples are the same;

still plagiarism

PLAGIARISM EXERCISE

EXERCİSE 1.1. EXPLAIN WHY THERE IS OR IS NOT PLAGIARISM IN THE PASSAGE FROM THE STUDENT'S ESSAY.

From Michael Ventura's "The Tools of an Animal": Different tools shape words differently, the way different tools build furniture and shoes differently.... Pen and paper are slow and messy, of course. Modernity loves speed and claims to hate mess. But speed is only a value when it's useful, and it isn't always useful. Slowness can be useful too. Using an instrument that doesn't let you go too fast can make you pause where you might not have, and a pause at the right time can change or even save your life, not to mention your work.

From a student's essay:Most writers have come to depend on computers, and they can't imagine writing a paper without one. But, in an essay titled "The Tools of an Animal," Michael Ventura reminds us that sometimes computers aren't the right tool for a writer's task, sometimes using an instrument that doesn't let you go too fast can make you pause at a crucial point--and this pause may save your work from failure (5).

Works Cited Ventura, M. (1994). The Tools of an Animal. The Independent Weekly, 5.





There is plagiarism in the passage because the student borrows Ventura's exact words without using quotation marks.

EXERCİSE 1.2. IDENTIFY WHERE, IF AT ALL, THE STUDENT USES ATTRIBUTION




EXERCİSE 1.2. IDENTIFY WHERE, IF AT ALL, THE STUDENT USES ATTRIBUTION



Works Cited Ventura, M. (1994). The Tools of an Animal. The Independent Weekly, 5. The student uses attribution at the beginning of the second sentence: in an essay titled 'The Tools of an Animal,' Michael Ventura.


From William Zinsser's On Writing Well: Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it's not a question of gimmicks to "personalize” the author. It’s a question of using the English language in a way that will achieve the greatest strength and the least clutter.

From a student's essay: An important quality of good writing is "aliveness" (Zinsser 6). To achieve aliveness, a writer must avoid gimmicks and instead use the English language to achieve great strength and a minimal amount of clutter.

Works Cited Zinsser, W. (1985). On Writing Well. An Informal Guide to Writing Nonfiction. 3rd. ed. New York: Harper





There is plagiarism because the student’s second sentence paraphrases from Zinsser without documentation. The student’s paraphrase also borrows too closely from the original.

EXERCİSE 2.2. IDENTIFY WHERE, IF AT ALL, THE STUDENT USES ATTRIBUTION.




EXERCİSE 2.2. IDENTIFY WHERE, IF AT ALL, THE STUDENT USES ATTRIBUTION.




The student does not use attribution in this passage.


From James L. Kinneavy, William McCleary, and Neil Nakadate's Writing in the Liberal Arts Tradition: The goal of learning to write "in the liberal arts tradition" is the well-rounded writer-- a person with training and experience in a range of writing tasks, from term papers to poems and stories.

From a student's essay:The authors of Writing in the Liberal Arts Tradition believe that "the goal of learning to write 'in the liberal arts tradition' is the well-rounded writer" (xiii). A well-rounded writer, they explain is one with training and practice in a variety of writing tasks (xiii).

Works CitedKinneavy, J. L., William J. M., and Neil N. (1985). Writing in the Liberal Arts Tradition: A Rhetoric with Readings. New York: Harper.





There is no plagiarism in this passage. The student’s paraphrase in the second sentence is appropriately attributed and referenced.

EXERCİSE 3.2. IDENTIFY WHERE THE STUDENT USES ATTRIBUTION.




EXERCİSE 3.2. IDENTIFY WHERE THE STUDENT USES ATTRIBUTION.




The student uses attribution in both the first and second sentences: “The authors of Writing in the Liberal Arts Tradition believe’ and “they explain.”

EXERCİSE 4. EXPLAIN WHY THERE IS OR IS NOT PLAGIARISM IN THE PASSAGE FROM THE STUDENT'S ESSAY.

From a lecture by John C. Bean: Who among us begins writing an article by choosing a topic, narrowing it, and then writing a thesis statement and outline? Rather, most of us begin by being gradually drawn into a conversation about a question in our disciplines that doesn't yet seem resolved. We find something unsatisfying about this conversation; something is missing.... Whatever the source of our puzzlement, our own writing originates in our sense of a conflict or question.

From a student's essay: Often, people view the writing process as a rigid series of steps. First, you choose a topic, then you form a thesis. An outline precedes the first draft, revision succeeds the first draft and editing is always the final step. In practice, however, the writing process is not nearly so clear cut. For instance, Bean (1989) argues that writing often begins not with a thesis but with a question.

References Bean, J. C. (1989). Lecture presented at Gustavus Adolphus College, St. Peter, MN.


From a lecture by John C. Bean: Who among us begins writing an article by choosing a topic, narrowing it, and then writing a thesis statement and outline? Rather, most of us begin by being gradually drawn into a conversation about a question in our disciplines that doesn't yet seem resolved. We find something unsatisfying about this conversation; something is missing.... Whatever the source of our puzzlement, our own writing originates in our sense of a conflict or question.

From a student's essay: Often, people view the writing process as a rigid series of steps. First, you choose a topic, then you form a thesis. An outline precedes the first draft, revision succeeds the first draft and editing is always the final step. In practice, however, the writing process is not nearly so clear cut. For instance, Bean (1989) argues that writing often begins not with a thesis but with a question.

References Bean, J. C. (1989). Lecture presented at Gustavus Adolphus College, St. Peter, MN.

There is no plagiarism in the student’s passage because appropriate attribution and documentation are used to acknowledge the ideas borrowed from Bean. (In APA documentation, a page number is not required for summaries or paraphrases, but the date is.)


From Edward Abbey's "Come on In": The canyon country of southern Utah and northern Arizona is something special. Something else. Something strange, marvelous, full of wonders. So far as I know there is no other region on earth much like it, or even remotely like it. Nowhere else have we had this lucky combination of vast sedimentary rock formations exposed to a desert climate, of a great plateau carved by major rivers--the Green, the San Juan, the Colorado-into such a wonderland of form and color.

From a student's essay:In a short essay titled "Come on In," Edward Abbey introduces his readers to the wonders of the canyon country in the American Southwest. This area has a fortunate combination of extensive sedimentary rocks exposed to a desert environment and a great plateau shaped by important rivers. For Abbey, it is "a wonderland of form and color.”

Works CitedAbbey, E. (1976). "Come on In." Plateau 49(1), 3-5.





There is plagiarism because the student’s second sentence borrows from the source but does not acknowledge the borrowing with documentation or attribution. The student’s paraphrase in this sentence is also too close to the original. She should use her own sentence structure.

EXERCİSE 5. 2. IDENTIFY WHERE, IF AT ALL, THE STUDENT USES ATTRIBUTION.








The student uses attribution in the first sentence, “In a short essay titled ‘Come on In,’ Edward Abbey introduces” and in the last sentence, “For Abbey.”


From Steven D. Emslie, Robert C. Euler, and Jim 1. Mead's "A Desert Culture Shrine in Grand Canyon, Arizona, and the Role of Split-twig Figurines":Most of the known figurine sites in Grand Canyon share an apparent correlation with the caves containing remains of the extinct mountain goat (though these remains are considerably older than the artifacts) and remains of bighorn sheep, . . . The authors think the correlation of figurines with Oreamnos or Ovis remains is not accidental, and that the presence of these remains in a cave was the reason a site was selected for the deposition of figurines.

From a student' essay: Since the 1933 discovery of split-willow figurines in the Grand Canyon archaeologists have been speculating about the function these simple figures played in the cultures of early Canyon dwellers. Emslie, Euler, and Mead (1987), for instance, have observed that the figurines we often found in caves with fossils from mountain goats and bighorn sheep. They believe that this correlation is not an accident.

References Emslie, S. D., Euler, R. C., & Mead, J. 1. (1987). A desert culture shrine in Grand Canyon, Arizona, and the role of split-twig figurines. National Geographic Research, 3, 511-516.





There is no plagiarism in this passage because the student uses attribution and documentation to acknowledge appropriately the information borrowed from the source.





The student uses attribution in the second sentence: “Emslie, Euler, and Mead….have observed.”


From Ann H. Zwinger's forward to The Grand Canyon: Intimate Views:I first went down the Colorado River in the Grand Canyon in May of 1976, just after writing a book on the Green River, during which tune I had studiously avoided run-ning the Colorado River because I didn't want to lose focus, didn't want to be over-whelmed by this massive canyon, this overpowering river. When that book was over- and published, I wanted to complete my time of river running with the ultimate: the Colorado River in the Grand Canyon, sure that I would write no more river books, do no more river trips, and this rowing trip would be the grand finale (so to speak), the ne plus ultra.

From a student's essay: Though writer Ann Zwinger devoted much of her adult life to studying and writing about rivers, she carefully avoided the Colorado River for many years. Zwinger didn't want to be overcome by this magnificent river. Instead, she wanted to save the Colorado River until the end of her career as a river runner, believing that it "would be the grand finale" (ix).

Works CitedZwinger, A. H. (1992). Forward to The Grand Canyon: Intimate Views. Ed. Robert C. Euler and Frank Tikalsky. Tucson: U of Arizona P.

EXERCİSE 7 EXPLAIN WHY THERE IS OR IS NOT PLAGIARISM IN THE PASSAGE FROM THE STUDENT'S ESSAY.

From Ann H. Zwinger's forward to The Grand Canyon: Intimate Views:I first went down the Colorado River in the Grand Canyon in May of 1976, just after writing a book on the Green River, during which tune I had studiously avoided run-ning the Colorado River because I didn't want to lose focus, didn't want to be over-whelmed by this massive canyon, this overpowering river. When that book was over- and published, I wanted to complete my time of river running with the ultimate: the Colorado River in the Grand Canyon, sure that I would write no more river books, do no more river trips, and this rowing trip would be the grand finale (so to speak), the ne plus ultra.

From a student's essay: Though writer Ann Zwinger devoted much of her adult life to studying and writing about rivers, she carefully avoided the Colorado River for many years. Zwinger didn't want to be overcome by this magnificent river. Instead, she wanted to save the Colorado River until the end of her career as a river runner, believing that it "would be the grand finale" (ix).

Works CitedZwinger, A. H. (1992). Forward to The Grand Canyon: Intimate Views. Ed. Robert C. Euler and Frank Tikalsky. Tucson: U of Arizona P.

There is no plagiarism in this passage.

EXERCİSE 8 "Reality TV claims to feature 'ordinary' people doing 'ordinary' things. As a genre, the 'people show' minimises the distance between the audience and the 'actors' through its emphasis on everyday life so that the viewer is invited to recognise the participant as belonging to her or his own habitus. A viewer sitting at home is not only invited to identify with the actors; she or he can become one of them by volunteering to tell her story, become a contestant, or by taking part in the show as one of the studio audience". (Tinknell & Raghuram 2004, p. 258) Original text

Reality TV claims to feature 'ordinary' people doing 'ordinary' things. The emphasis on everyday life minimises the distance between the audience and the actors making the viewer feel like they too could become one of them by becoming a contestant, or being in the studio audience. (Tinknell & Raghuram) Submitted text

Reference: Tincknell, E. and Raghuram, P. 2004. Big Brother: reconfiguring the active audience? In: Holmes, S. and Jermyn, D. eds. Understanding reality television. London: Routledge, pp.252-269.

Compare the work submitted by this student with the original text. In your opinion has the student:

In your opinion has the student:

a) written about the original text in their own words?

b) copied phrases from the original text without quotations marks?

c) failed to provide a correct reference?

d) provided a correct reference?

e) included too many words from the original text?

f) used the author's ideas without providing a reference?

EXERCİSE 9 "Having a home is a basic human need; we all need somewhere to live. For those people within society without a home life is barely tolerable, and for a society (especially a modern welfare state) a continuing problem of homelessness is an indictment of the ability of that society to meet the welfare needs of all its citizens. Yet homelessness remains a significant problem in affluent, welfare, Britain at the beginning of the twenty-first century, with hundreds of people sleeping rough on the streets of towns and cities every night because they do not have a home of their own to go to". (Alcock 2003, p. 73). Original text

Reference: Alcock, P. 2003. Social policy in Britain. 2nd ed. London: Palgrave.

"Having a home is a basic human need; we all need somewhere to live". However, despite the fact that Britain is a wealthy society with an established welfare state, there are still many homeless people living on the streets. Draft essay 1

"Having a home is a basic human need; we all need somewhere to live" (Alcock 2003, p. 73). However, as Alcock (2003) points out, despite the fact that Britain is a wealthy society with an established welfare state, there are still many homeless people living on our streets. Draft essay 2

Having a home is a basic human need; we all need somewhere to live. (Alcock 2003, p. 73). However, even in affluent, welfare Britain, there are still hundreds of people sleeping rough. Draft essay 3

Which draft essay would you submit? Why?

Draft essay 1

Draft essay 2

Draft essay 3

EXERCİSE 10Now can you spot whether this next student has plagiarised and if so, why?

"Patient compliance is the extent to which the actual behaviour of the patient coincides with medical advice and instructions: it may be complete, partial, erratic, nil, or there may be over compliance. To make a diagnosis and to prescribe evidence-based effective treatment is a satisfying experience for doctors, but too many assume that patients will gratefully or accurately do what they are told, i.e. obtain medicine and consume it as instructed. This assumption is wrong". (Bennett and Brown, 2003, pp. 18-19). Original text

"Patient compliance is the extent to which the actual behaviour of the patient coincides with medical advice and instructions: it may be complete, partial, erratic, nil, or there may be over compliance" (Bennett and Brown, 2003, pp. 18-19). Too many doctors wrongly assume that patients will obtain and consume medicine as instructed. Essay extract

Reference: Bennett, P.N. and Brown, M.J. 2003. Clinical pharmacology. 9th ed. Edinburgh: Churchill Livingstone.

EXERCİSE 11In the essay extract below the student has combined information from two different original sources.

"Transport contributes to poor air quality. Although discharges of many of the most damaging air pollutants have declined over the last decade, there are still 'hot spots' in some city centres and along motorway corridors where concentrations of nitrogen dioxide and particulates from road vehicles exceed safe levels. The Department of Health estimates that there are between 12,000 and 24,000 early deaths each year resulting from poor air quality in our cities". (Environment Agency 2005, paragraph 2). Original text 1

"More affordable cars, rising incomes and a land use policy that has favoured out of town shopping centres and greenfield housing developments, have all led to a growing dependency on the car as a means of transport. Road vehicles currently account for 22 per cent of all UK carbon dioxide (CO2) emissions, the main greenhouse gas responsible for the human contribution to climate change". (Foley and Fergusson 2003, p. 1). Original text 2

References:

Environment Agency. 2005. Reducing the environmental impacts of road and air transport: position statement [Online]. Environment Agency. Available at: http://www.environment-agency.gov.uk/aboutus/512398/289428/655143/?lang=_e [Accessed 21 July 2005].

Foley, J. and Fergusson, M. 2003. Putting the brakes on climate change: a policy report on road transport and climate change [Online]. London: IPPR. Available at: http://www.ippr.org.uk/ecomm/files/PuttingtheBrakeson.pdf [Accessed 21 July 2005].

Despite the fact that harmful emissions have fallen during the last 10 years, our continuing reliance on the car as a means of transport makes a significant contribution to air pollution (Environment Agency 2005; Foley and Fergusson 2003). For example, in 2003 road transport was responsible for 22 per cent of the UK's carbon dioxide output (Foley and Fergusson 2003) and according to a recent report by the Environment Agency (2005) there are still areas where nitrogen dioxide levels from emissions are dangerously high. Essay extract

Do you think plagiarism has been committed?

plagiarism assoc. prof. dr. Şehnaz Şahinkarakaş. g eneral things to remember while writing ! (...

Documents

voice slide

princeton university

written work slide

ehnaz ahinkaraka slide

old hamlet

original source text

ophelias funeral

hamlets pretense of