Claims Of Authenticity Research Articles

Nicomaque Flavien syriacophone dans la Vie d’Aurélien. Des réminiscences d’Eusèbe de Césarée dans l’Histoire Auguste ?

Intertextuality in the Historia Augusta is a very complex topic. In this paper, I analyze a sentence from the Vita Aureliani (27, 6), which follows the quotation of two letters forged by the biographer. This sentence gives fanciful details about the original language of the two letters, and it even explains that a certain Nicomachus translated the second one from Aramaic into Greek. The author may in fact be crossing two literary references: the pagan Nicomachus Flavianus Senior and the Christian Eusebius of Caesarea who, in his historical writings, often mentioned the original language of the documents he translated to support his claims of authenticity.

"Ächt antike Denkmale"?: Goethe and the Hemsterhuis Gem Collection

The small collection of engraved gems selected by Dutch philosopher and connoisseur Frans Hemsterhuis was, for more than thirty years, a source of fascination for Johann Wolfgang von Goethe. This article examines the aesthetic principles on which Hemsterhuis based the formation of his collection and traces the collection's reception and influence on Goethe. Motifs illustrating the classical ideal, be they of Greek or modern origin, were the primary justification for inclusion, with authenticity playing a subsidiary role in the collection. Hemsterhuis's appreciation of the Greek ideal was based purely on stylistic characteristics, formal components dependent entirely on observation. Analysis of the dating attributions for this collection since its formation demonstrate claims of authenticity based on connoisseur-ship to be permanently in a state of flux. The collection also informs aspects of Goethe's own principles of classification.

Disguised Plagiarism

Disguised Plagiarism

Plagiarism and Authorship in Turn-of-the-Century Venezuela

Abstract This article explores the connection between modernismo, a literary movement that relied heavily on imitation and intertextuality, and accusations of plagiarism, copying, and appropriation. It contextualizes the analysis within a nineteenth-century legal moment in which intellectual property protections were just beginning to take hold at the international level. It examines claims of authorship in the absence of meaningful intellectual property legislation, and in an asymmetrical context in which European authors were widely reprinted and read in Latin America but Latin American authors were barely read in Europe. And it considers performances of plagiarizing and of being plagiarized—that is, the unease expressed by one who suspects his work has been copied. Specifically, the article analyzes an accusatory epistolary exchange between Enrique Gómez Carrillo and Manuel Díaz Rodríguez; the novel El hombre de hierro (The Iron Man; 1907) by Rufino Blanco Fombona, which was interpreted as a copy of Flaubert’s Madame Bovary but justified by its local character; and the very curious case of Rafael Bolívar Coronado, whose writing implodes the category of authorship that underlies intellectual property legislation. Taken together, the three cases demonstrate the development of the notions of authorship and plagiarism in Venezuelan literature at the turn of the century.

Representing “The Other India” in Transnational Public Spaces

Marlon Ross in his chapter in The Construction of Authorship (1994: 231) claims that what differentiates a writer from an author is the latter’s ability to “transmute” and “transport” knowledge to a public space, thus “transversing” the distance between the self and the other. Such knowledge or experience is then rendered “knowable, shareable and answerable”. This article explores some of the ways in which the Indian non-fiction writer and journalist, Sonia Faleiro, is positioned as someone with a privileged knowledge about the lives of Indian marginalised subjects, and the ability to translate those experiences for a transnational middle-class audience. She is also tasked with having an ‘authentic’ personality that her readers can relate to, interact with, and in some ways hold to account. This article, with its focus on empirically understanding Indian middlebrow writing, showcases some of the characteristics of literary celebrity in the postmodern cultural sphere, its focus on affective citizenship, and purported significance to upholding the cosmopolitan values of plurality, social justice and democracy.

On Slucki, Finder, and Patt's Laughter After: Humor and the Holocaust

On Slucki, Finder, and Patt's Laughter After:Humor and the Holocaust Elyce Rae Helford Laughter After: Humor and the Holocaust. Edited by David Slucki, Gabriel N. Finder, and Avinoam Patt. Detroit, MI: Wayne State University Press, 2020. 352 pp., ISBN 978-0-8143-4438-6 (pb), $34.99. I begin with a confession: I laugh at Holocaust-themed humor. From the Nazibashing wit of Mel Brooks to the taboo-breaking excess of Sarah Silverman, I find the subject of comedy after the Shoah fascinating and important. Thus, I share the interests of the editors of and contributors to Laughter After: Humor and the Holocaust: the power and problematics of post-Holocaust humor are compelling and worthy of scholarly attention. Today, as survivors die and antisemitism (including denialism) raises its dangerous head once again, understanding the politics of laughter is vital. Conventional wisdom and traditional scholarship have posited that we must present the Holocaust seriously and realistically. Anything else, the argument goes, will demean, devalue, and potentially lead to denial. Such a supposition neglects problems with claims of authenticity and the limits of verisimilitude. Representations are all and always artificial. Moreover, post-Holocaust humor can point to the limits—even the failures—of Holocaust tragedies and melodramas. As Slavoj Žižek posits, comedy, unlike dramatic realism, "accepts in advance its failure to render the horror of the Holocaust."1 [End Page 259] The 1990s brought debates over the place of post-Holocaust humor in response to films including Train de vie (1998) and Jakob the Liar (1999) but especially Life Is Beautiful (1997). As the editors state, Roberto Benigni's picture "marked a turning point, if not in humorous representations of the Holocaust, then at least in discussions about the ethics and functions of such humor" (6–7). The collection Laughter After is possible, they argue, because the distance of twenty years have seen the "explosion of Holocaust humor on television, in stand-up comedy, and in literature in the Americas, Israel, Europe, and Australia" (7). Indeed, the volume offers valuable international and generic diversity, from Yiddish humor in Europe to Latin American caricaturas. One can only wonder what the editors might have concluded about the impact on Holocaust humor studies of the Oscar-winning Jojo Rabbit (2019). The editors divide the book, semi-historically, into two sections: "Aftermath" and "Breaking Taboos." "Aftermath" contains three chapters focused on Yiddish humor in the Soviet Union, Poland, and the Netherlands and then shifts to post-Holocaust writing and film in two additional chapters about US texts dating from 1939 to 1972. "Breaking Taboos" contains nine chapters, all post-Holocaust in focus, from the 1960s to the present, in texts from Latin America, the Netherlands, Poland, Germany, Israel, and the United States, including literature, film, television, stand-up comedy, newspaper comics, and shared jokes. If I am a bit unsure of the rationale for and effectiveness of the book's structure (there are no section introductions), I am entirely engaged by the wideranging content of the chapters themselves. Although the "classics" are covered in several chapters—for example, The Great Dictator (1940), The Producers (1969), and so on—the collection's linchpin is its trio of chapters on Yiddish humor. Anna Shternshis begins with "Hitler Hanging on the Tree: Humor and Violence in Soviet Yiddish Folklore of World War II." She presents a compelling archival study that interrogates the mobilization of communist ideology in jokes and stories collected between 1941 and 1947 by Soviet Yiddish journalists. Her goal would have been to compare such official discourse with uncensored Yiddish jokes, but these are available only via previously collected and published volumes. In this context, Shternshis posits that the Soviet collection reveals "an attempt by the state to use Yiddish humor as a weapon against fascism" (17). In "Too Soon? Yiddish Humor and the Holocaust in Postwar Poland" and "Is It Still Funny? Lin Jaldati and Yiddish Satire Before and After the Holocaust," [End Page 260] authors Marc Caplan and David Shneer consider additional Yiddish texts. The former analyzes the "conflicting imperatives of Yiddish humor and Holocaust commemoration" (40) through Moyshe Nudelman's 1947 volume Laughter through Tears, the Polish film Undsere kinder (1948...

A robust hybrid digital watermarking technique against a powerful CNN-based adversarial attack

Digital watermarking techniques are valuable tools to embed digital signatures on multimedia content to establish the legal ownership and authenticity claims by the owners. Firstly this paper investigates the robustness of popular transform domain-based digital image watermarking schemes such as DCT, SVD, DWT, and their hybrid combinations against known image processing type attacks such as image blurring, compression, noise addition, rotation and cropping. Then, an enhanced hybrid scheme using DWT and SVD methods is proposed and its improved performance is demonstrated in terms of the quality of the extracted watermarks measured in terms of PSNR, SSIM and NCC values. This paper then proposes a novel adversarial attack based on a powerful Deep Convolutional Neural Network based Autoencoder(CAE) scheme. The CAE is specifically chosen to exploit its intrinsic capability to represent the image content (spatial and structural) through lower dimensional projections in the intermediate layers. The CAE is trained and tested on the entire image repository of the CIFAR10 data set. Once CAE is trained on a class of images and the parameters are frozen, it will serve as a system to produce a perceptually close image for any unseen input image belonging to the same class. The power of the proposed adversarial attack scheme is shown in terms of the quality of extracted watermarks against popular water mark embedding schemes. Finally the proposed enhanced hybrid strategy of DWT+SVD is shown to be robust against the new form of attack and outperforms all other techniques measured in terms of its high quality watermark extraction.

Jasper Johns' Flag: Beyond Realism and Abstraction

Jasper Johns is one of the most provocative American artists of the twentieth century who has shaped the perception of art and has influenced generations of artists. This paper examines one of his most important works, Flag (1955), regarding it as a work defying easy categorizations as either a realist or an abstract work. Without being identified as either kind, it nevertheless displays certain traits of both. As for its suggestion of realism, the work comes up as a response to its political, cultural and artistic context, challenging Cold War aesthetics; albeit in a mocking manner. Its ridicule is evident in its allusion to the concept of ideology via its ‘kitschy’ subject matter whilst its delicately painted surface exhibits brushstrokes reminiscent of abstract expressionism. Yet the work also confronts presumptions of abstract expressionists by drawing attention to their implicit conventionalism despite their claims for authenticity and uniqueness. It will be argued that by calling the notion of identity in question, the work suspends and surpasses neat categories and sparks even further controversy by hinting at postmodern art and evoking ready-mades simultaneously.

The influence of perceived credibility on purchase intention via competence and authenticity

Abstract Due to the significant role of authenticity in the restaurant business, restaurateurs proactively make authenticity claims. However, the literature has rarely examined whether customers view these claims as credible and how the credibility of these claims influences dining intention. Thus, this study examines customers’ perceived credibility of authenticity claims based on the authenticator claiming authenticity, restaurant ownership type, and restaurant history. Furthermore, utilizing trust-transfer theory, this study proposes and tests a model that links customers’ perceived credibility of a restaurant’s authenticity claims, perceived restaurant competence, perceived restaurant authenticity, and purchase intention. The results show that the authenticator of authenticity claims and restaurant ownership type influence the perceived credibility of authenticity claims. Additionally, the perceived credibility of authenticity claims influences customers’ dining intention indirectly through restaurant competence and constructed authenticity.

Manifesting desire and anarchy as method: The problem of Inside Pussy Riot

My aim is to consider how anarchy reads and resists punitive regimes in performance, particularly in ‘immersive performance’. Punk troupe Pussy Riot forms a starting point, via Riot Days in 2017–18, with a sustained consideration on Inside Pussy Riot at the Saatchi Gallery in 2017, produced by Les Enfants Terrible. I concentrate on claims for authenticity that seem to lend theatre and performance legitimacy in relation to social change, to critique theatrical work with claims to producing agency, legitimizing hope for social transformation that is predicated on an ‘empowered’ spectator-participant. In the wake of these concerns, questions that bleed through this material relate to the limits of participation in performance and how and whether representations serve to dismantle state institutions. I consider whether the force of replications of cells, yards or gulags enables or disintegrates any activist, anarchist potential in performance. I take a wide-ranging view of anarchism beyond political theory to consider anarchism modelled in performance terms. Building from the example of Pussy Riot, the article defines performance critique through desire and anarchism, ‘manifesting desire’ or ‘anarchy as method’.

Authenticity, Consumer Culture and Charismatic Authority1

This article is divided into four parts which move the discussion from authenticity to consumerism to charismatic authority. The introduction discusses “what is authenticity,” and how social sciences can address the question. The article argues that authenticity claims can be classified in different registers, which in turn are part of overarching, socio-historical regimes. The rise of the culture of authenticity is the product of a change in such regimes, which have shifted from a “national-statist” to a new consumerist or “market” regime in the wake of the consumer revolution of the 1960s and the latest wave of economic globalisation. The third section turns to the issue of religious authority, starting with the diagnosis that consumer cultures are prone to a shift from rational-legal to charismatic types of authority, in reference to Max Weber’s typology. In response to the question as to why charismatic authorities arise in capitalist cultures, the article argues to their structural and coextensive nature. Finally, the last section revises Weber’s typologies with the help of Mauss’s Essay on the Gift and a contribution from sociologist Alain Caillé and develops some of their heuristic potential.

Cosmopolitans of regionalism: dealers of omnivorous taste under Italian food truck economic imaginary

ABSTRACT Cultural omnivorousness has gained relevance as a suitable theory to explain contemporary patterns of consumption, but the actual dealing of omnivorous taste by economic actors and businesses has been mostly overlooked. Through ethnographic research, this article explores how Italian gourmet food truck operators concretely produce claims of authenticity for omnivorous seekers. First, the adoption of the perspective of food truck operators highlights the reflexive and market-bounded nature of the omnivorous taste reproduction. Moreover, “being authentic” becomes an imperative for tastemakers, imposed by the economic imaginary. Finally, the centrality of regionalism in the Italian production of authenticity suggests that localism, too, has been subsumed by global food imaginaries and that regionalism expresses a cosmopolitan attitude. Taken together, these findings allow the integration of existing theory of food cultural omnivorousness: “gourmet” food must be authentic to be recognised by omnivores and distinctive to be successful on markets.

Withdrawal Notice: Impact of One-rod Levonorgestrel Implant on Blood Chemistry Profile: A Cohort Study

The article has been withdrawn at the request of the authors and editor of the journal Current Women's Health Reviews. <P> Bentham Science apologizes to the readers of the journal for any inconvenience this may cause. <P> <b>Bentham Science Disclaimer:</b> <P> Articles in Press (articles that have been accepted for publication or published as E-pub Ahead of Schedule but which have not been formally published with volume/issue/page information) that include errors, or are determined to violate the publishing ethics guidelines such as multiple submission, fake claims of authorship, plagiarism, fraudulent use of data or the like, maybe "Withdrawn" from the journal. Withdrawal means that the article files are removed and replaced with a PDF stating that the article has been withdrawn from the journal in accordance with BSP Editorial Policies.

The Mughal Past and the Politics of Memorialization in Ahmed Ali's Twilight in Delhi

The recent dominance of Hindu nationalist politics has emboldened many in India and the diaspora to call for the realization of an essentially Hindu nation-state, intensifying concerns about the future of the country’s espoused secular ideals and sizeable Muslim minority. In light of ongoing controversies surrounding the status of Mughal-era markers and monuments in the Indian public sphere, this essay argues for renewed attention to Ahmed Ali’s Twilight in Delhi (1940), the first major English-language novel by an Indian Muslim writer, which presciently mourned the saffronization of Indian society and attendant erasure of Muslims from the national imaginary. While Twilight has often been read as an excessively maudlin text about elapsed Mughal hegemony and decaying ashraf [noble] Muslim culture, the essay argues that the novel was invested in the futurity of Delhi and India more broadly. Close examination of Ali’s portrayal of Mughal monuments and the city of Delhi reveals them to be evocative sites of composite Indian belonging, locations that are understood to be both Hindu and Muslim in character. The essay contends that Ali’s novel stands as a corrective to ongoing assertions that Muslims lack an authentic claim to the country—a poignant monumentalization of a plural India when independence was on the horizon.

Those Who Know Don't Say: The Nation of Islam, the Black Freedom Movement, and the Carceral State by Garrett Felber

Reviewed by: Those Who Know Don't Say: The Nation of Islam, the Black Freedom Movement, and the Carceral State by Garrett Felber Jimmy Butts (bio) Those Who Know Don't Say: The Nation of Islam, the Black Freedom Movement, and the Carceral State. By Garrett Felber. (Chapel Hill: University of North Carolina Press, 2020. Pp. 272. $90.00 cloth; $22.95 paper; $12.99 ebook) Aiming to correct the narrative about the Nation of Islam (NOI), Garrett Felber demonstrates the significant role the group played in the Black freedom struggle as they challenged the carceral state. To put the NOI in its proper historical context, Felber makes use of newspapers, trial transcripts, speeches, telegrams, FBI files, and other sources. Moreover, the chronological structure of the book lends itself to identifying the presence of the NOI at every stage of the civil rights movement. [End Page 661] The author traces how two popularized depictions of the NOI negatively influenced the perception of the group among the public. The 1959 documentary entitled "The Hate That Hate Produced" situated the NOI as a hate group calling for "Black supremacy" (pp. 18, 36). Furthermore, the 1961 publishing of the book The Black Muslims in America by C. Eric Lincoln caused the religious validity of the NOI to be questioned (pp. 18–19). These two sources assisted what Felber describes as "epistemic violence" against the group by the state. In particular, the state "created ways of knowing the Nation of Islam that distorted our understanding of its politics to this day" (p. 14). Thus, carceral officers accused the Nation of reverse racism and argued the incompatibility of "Blackness" with true Islam. Felber offers a useful theoretical conception he calls the "dialectics of discipline." This theory suggests interplay between NOI's responses to "state repression and the paradoxical acceleration of the expansion of the carceral state through new technologies of violence" (p. 2). For example, in the New York prison system, the state obtained control by prison transfers, religious literature confiscation, solitary confinement, and the loss of good time. In response, Muslim prisoners performed hunger strikes, filled solitary confinement, and filed complaints. Having laid out this theoretical tool, Felber then concentrates on various aspects of the civil rights movement to emphasize the significant ways the NOI participated. The author introduces diverse ways that the NOI challenged the carceral state both inside and outside of prison. In response to the draft during WWII, members of the NOI refused to fight in a war for what they perceived as a white supremacist nation. As a result, by 1945 nearly two hundred men from the NOI served time for draft evasion. These conscientious objectors came ready to challenge Jim Crow in prison. Because the Thirteenth Amendment to the U.S. Constitution relegated imprisoned people to slaves, the government followed a hands-off approach to how prison officials treated them. Therefore, although prison officials sought to suppress the NOI, the litigation and organizing of Muslims resulted in the 1961 Supreme [End Page 662] Court ruling that the federal government can intervene based on the denial of an individual's Fourteenth Amendment rights by the state and protect the rights of the incarcerated. The state used similar tactics to suppress the NOI outside prison. In response to police brutality, the NOI worked to create a Black united front across religious affiliation. The NOI endured police violence, home and mosque invasions, and racial profiling. However, they responded by using the courtroom as a political battleground to build Black unity against police violence. Thus, both inside and outside of prison the NOI played a significant role in Black resistance to state aggression. Whether one points to the Watts or Attica uprisings, members of the NOI played an instrumental role in these expressions of resistance. The state also responded to these acts with increasing surveillance and violence. This reflects the dialectics of discipline. Although this work helps to broaden the historiography on the NOI, it would benefit from a more critical analysis of the claims of religious authenticity made by the NOI. Felber highlights the eventual validation of the group's religious legitimacy by the courts and some "orthodox" Muslims (pp. 30–34...

Privileges of Power: Authenticity, Representation and the “Problem” of Children’s Voices in Qualitative Health Research

The widespread privileging of children’s voices in recent times has triggered expansion of differing forms of qualitative enquiry that aim to “give children a voice.” Engaging children in research and eliciting their voices on matters that affect them is often showcased as being a more “authentic” way to capture children’s lived realities and afford their agency. Yet, the uptake of voice in qualitative enquiry, and how it may contribute to the privileging of particular ways of knowing (some) children’s lives, is rarely interrogated. Drawing on examples from our own research, in this paper we critically reflect on the frequent invoking of the term voice in qualitative health research with children. In doing so, we challenge claims of authenticity by exposing the tricky epistemological tensions and relations of power that are embedded within the production and legitimation of particular voices as being “correct” ways of knowing about health—including the ways our research intentions and methods contribute to these processes. We reflect on the methodological and epistemological value of silences, dissenting voices and other modes of expression to highlight forms of resistance to adult-led health agendas. We conclude by illustrating how dominant relations of power are (re)produced within and across research spaces, and through the mobilizing or pathologizing of particular young voices through research. Possibilities for advancing ways to harness children’s preferred modes of expression in qualitative research are also considered.

Accommodating an Uninvited Guest: Perspectives of Researchers in Switzerland on 'Honorary' Authorship.

The aim of this paper is to analyze the attitudes and reactions of researchers towards an authorship claim made by a researcher in a position of authority who has not made any scientific contribution to a manuscript or helped to write it. This paper draws on semi-structured interviews conducted with 33 researchers at three seniority levels working in biomedicine and the life sciences in Switzerland. This manuscript focuses on the analysis of participants' responses when presented with a vignette describing an authorship assignment dilemma within a research group. The analysis indicates that researchers use a variety of explanations and arguments to justify inclusion of what guidelines would describe as honorary or guest authorship. Fuzzy parameters such as "substantial contribution" lead to varied interpretation and consequently convenient application of authorship guidelines in practice. Factors such as the culture of the research group, the values and practice shaped by the research leaders, the hierarchy and relative (perceived) positions of power within research institutions, and the importance given to publications as the currency for academic success and growth tend to have a strong influence on authorship practice. Unjustified authorship assignment practices can be reduced to some extent by creating empowering research cultures where each researcher irrespective of his/her career stage feels empowered to confidently raise concerns without fearing adverse impact on their professional lives. However, individual researchers and research institutions currently have limited influence on established methods for evaluating academic success, which is primarily based on the number of high impact publications.

How Organizations Claim Authenticity: The Coproduction of Illusions in Underground Restaurants

With perceptions of authenticity offering contemporary organizations a key competitive advantage in the marketplace, a growing body of research has investigated “authenticity work”: the diverse ways in which organizational actors fabricate authenticity claims for their audience members. However, claiming authenticity is a challenging and problematic task, because organizations must weigh how much authenticity they can safely project without incurring backfire. This is further complicated by consumers’ fickle and contradictory attitudes regarding authenticity work. This study examines this challenge by asking how organizations can claim authenticity in a way that aligns with their audiences’ variable understandings and expectations. Drawing on a qualitative study of underground restaurants—alternative social dining establishments, also known as “pop-ups” or “supper clubs”—I show that organizers claim authenticity through the coperformance of three illusions: community, transparency, and gift-giving. Instead of rejecting these illusions, most diners and underground organizers knowingly embrace them as authentic. This paper suggests that authenticity work, far from sending a one-way signal that audience members passively accept or reject, involves a continual process that generates the active co-construction of illusions by organizers and their audiences.

Contested and interdependent appropriation of space in a multicultural commercial neighbourhood of Santiago, Chile

ABSTRACT This article examines experiences of making, inhabiting and appropriating space, in relation to the transformations of the political economy in an increasingly multicultural urban setting. Through processes of social production and construction of space, it explores the material, societal and symbolic processes at play. The entry points are memories, images, uses and material connection to Patronato neighbourhood (Santiago, Chile) by people of Korean and Palestinian ancestry. It analyses how claims of space authenticity, processes of ethnicisation and material appropriation of space – commonly understood as given by ‘cultural differences’ – respond to historical, economic and political shifts happening at a global and local level. Moreover, challenging the prism of socioeconomic conflict and separation, it shows emerging dynamics of social interdependence and adjustment, taking place alongside the reorganisation of ethnic boundaries. Such reorganisation allows settled migrants to develop a sense of belonging and control over space in a rapidly changing neoliberal city.

Adapting Classical Restoration Concepts in Moving Image Restoration and the Role of Digital Techniques


 Ethical and aesthetic guidelines in the field of moving image restoration have been adapted from classical restoration theory. Focusing on film but valid for moving images in general, the article provides definitions of relevant terms and discusses ethical criteria for restoration and their adaptability for moving images. Mainly the claim for authenticity in restoration opens a wide field of discussion, starting from the question about what is authentic about film. The perception of moving images and the components their aesthetic value is build upon have a great impact on restoration interventions. Digital restoration tools and digitization have gained importance during the last years. While providing a wide field of new solutions, their seemingly endless range of possibilities has lead to a revival of the discussion about ethical and aesthetic aspects in moving image restoration.