'Getting out of the closet': Scientific authorship of literary fiction and knowledge transfer

Some scientists write literary fiction books in their spare time. If these books contain scientific knowledge, literary fiction becomes a mechanism of knowledge transfer. In this case, we could conceptualize literary fiction as non-formal knowledge transfer. We model knowledge transfer via literary fiction as a function of the type of scientist (academic or non-academic) and his/her scientific field. Academic scientists are those employed in academia and public research organizations whereas non-academic scientists are those with a scientific background employed in other sectors. We also distinguish between direct knowledge transfer (the book includes the scientist's research topics), indirect knowledge transfer (scientific authors talk about their research with cultural agents) and reverse knowledge transfer (cultural agents give scientists ideas for future research). Through mixed-methods research and a sample from Spain, we find that scientific authorship accounts for a considerable percentage of all literary fiction authorship. Academic scientists do not transfer knowledge directly so often as non-academic scientists, but the former engage into indirect and reverse transfer knowledge more often than the latter. Scientists from History stand out in direct knowledge transfer. We draw propositions about the role of the academic logic and scientific field on knowledge transfer via literary fiction. We advance some tentative conclusions regarding the consideration of scientific authorship of literary fiction as a valuable knowledge transfer mechanism.Comment: Paper published in Journal of Technology Transfe

Longinus On Sublimity

The traditional attribution of On Sublimity to the third-century critic Cassius Longinus has been rejected by most scholars since the early nineteenth century. The arguments against a third-century date are examined and shown to be unfounded. It is argued that the interest in sublimity and a number of aspects of the treatise’s vocabulary show distinctive points of contact with the evidence for Cassius Longinus, and with authors influenced by him. There is therefore a balance of probability in favour of the traditional attribution

Fair Use and the Fairer Sex: Gender, Feminism, and Copyright Law

Copyright laws are written and enforced to help certain groups of people assert and retain control over the resources generated by creative productivity. Because those people are predominantly male, the copyright infrastructure plays a role, largely unexamined by legal scholars, in helping to sustain the material and economic inequality between women and men. This essay considers some of the ways in which gender issues and copyright laws intersect, proposes a feminist critique of the copyright legal regime which advocates low levels of copyright protections, and asserts the importance of considering the social and economic disparities between women and men when evaluating the impacts and performance of intellectual property laws

The Screenplay Business: Managing creativity in script development in the contemporary British independent film industry

A screenplay is sometimes said to be a blueprint for a film, and its genesis and development is therefore important to our understanding of how films are created. Film business studies has traditionally avoided close study of the screenplay development process, perhaps as a result of the film studies emphasis on analysing the text of the completed film, and the auteur theory emphasis on the importance of the director; both of which may have marginalised the study of development and the creativity of development practitioners. Professional screenplay development is a team activity, with creative collaboration between screenwriters, producers, development executives, financiers, and directors. So how does power and creative control shift between members of this team, especially as people arrive or leave? And how does this multiple authorship affect the auteur theory idea that the director is the creative author of the film? This research sets out to open debates around the process and nature of the business of script development, and consider how development practitioners experience, collaborate and participate in the process of screenplay development in the UK today. It uses original interviews, observation and hermeneutic reflection; and asks how cross-disciplinary ideas around creativity, managing creative people, motivation, organisational culture, and team theory could be used to consider how the creative team of writer, producer, director and development executive can work effectively together. It proposes new theories, including defining the independent film value chain and the commitment matrix, analysing changing power relationships during development, and establishing new typologies around film categories and their relationship to funding. The core of this PhD by Prior Publication is the book The Screenplay Business: managing creativity and script development in the film industry. The supporting paper explores the contexts of film industry studies; the film value chain; auteurship and screenplay studies

Intellectual Property and Indigenous Peoples: Adapting Copyright Law to the Needs of a Global Community

The definition and scope of intellectual property and associated laws are under intense debate in the emerging discourse surrounding intellectual property and human rights. These debates primarily arise within the context of indigenous peoples\u27 rights to protection and ownership of culturally specific properties. It is true that intellectual property laws are based on Western, developed markets, Western concepts of creation and invention, and Western concepts of ownership. But whatever their origins, those laws have been, and currently are, the primary vehicle for the protection of artistic, literary, and scientific works worldwide. To segregate indigenous interests from this international legal regime, particularly in light of the increasing globalization of markets, is to deny indigenous peoples both a powerful legal shield and a powerful legal sword. This Article argues that copyright laws can, and must, be expanded so as to maintain the vitality of, and protect, the creative artistic and literary works of indigenous cultures. The article proposes three major changes to international copyright law: the incorporation of collective and communal notions of authorship, the expansion of the originality requirement to reflect these forms of authorship, and the application of limits on the duration of copyright protection in a broader community context. The article further proposes that a variety of intellectual property mechanisms be drawn upon to provide special protection for “sacred” cultural works

Comparative analysis of national approaches on voluntary copyright relinquishment

The report considers first the question of how copyright is justified, as this may have some bearing on whether a country will allow an author to make a voluntary statement leading to the expiration of his/her rights. Copyright can variously be described as a natural right, as a reward for creators, as a stimulus for creativity, as a property right, as an economic reward and as part of the public interest. Two justifications are explored, the moral and the utilitarian. The moral justification places the existence of intellectual property as a natural result of the right of the creator to anything he or she produces. The moral element of copyright has given way to the economic one, but the existence of moral rights, particularly important in civil law jurisdictions, continues to strongly represent the elements of copyright as a personality right

Creativity and Culture in Copyright Theory

Creativity is universally agreed to be a good that copyright law should seek to promote, yet copyright scholarship and policymaking have proceeded largely on the basis of assumptions about what it actually is. When asked to discuss the source of their inspiration, individual artists describe a process that is intrinsically ineffable. Rights theorists of all varieties have generally subscribed to this understanding, describing creativity in terms of an individual liberty whose form remains largely unspecified. Economic theorists of copyright work from the opposite end of the creative process, seeking to divine the optimal rules for promoting creativity by measuring its marketable byproducts. But these theorists offer no particular reason to think that marketable byproducts are either an appropriate proxy or an effective stimulus for creativity (as opposed to production), and more typically refuse to engage the question. The upshot is that the more we talk about creativity, the more it disappears from view. At the same time, the mainstream of intellectual property scholarship has persistently overlooked a broad array of social science methodologies that provide both descriptive tools for constructing ethnographies of creative processes and theoretical tools for modeling them

Who Wrote This?: Modern Forensic Authorship Analysis as a Model for Valid Forensic Science

The forensic analysis of a text in order to determine its authorship has, for decades, been accomplished by forensic linguists. These experts are trained in the science of linguistics, and have often applied their specialized expertise in sociolinguistics, discourse analysis, and pragmatics. Although the range of applications for forensic linguistics is extremely wide, this Article will focus only on the authorship attribution application. Herein, we maintain that reliability is an essential component of pattern comparison forensic practices, that testing for validity and measuring of error rates are the Daubert factors that best guarantee reliability, and that the practices of authorship attribution can be an effective model of how to carry out this testing