Plagiarism and Academic Integrity – Workshop

Ms. Sachini Seneviratne

PGIE
2018

Plagiarism and Academic Integrity

Plagiarism constitutes the intentional or unintentional, unacknowledged use of others’ ideas or
words and their presentation as your own. – PGIE Plagiarism clause

It is the misrepresentation and misuse of intellectual property, and can have very serious
consequences for a student’s career, academic or otherwise.
You will need to cite under certain circumstances:

i. Direct quotation of another author’s work

ii. Paraphrase/summary of an author’s work
iii. Usage of an author’s ideas.

There have to be attribution/documentation (identifying author in the text) and citation

(providing details about the work, publisher, etc.)

If you use a quotation, however long, you must cite it using the APA format (the author-date
method for intext citation). If you quote verbatim, you must use quotation marks around every
part of the author’s quoted text. If you paraphrase any part of another work, you must cite the
relevant author, work, and page number(s).

Rule of thumb: When in doubt, cite.

From Purdue Online Writing Lab

Book
1. Shorter quotes: author, year of publication, page number (preceded by ‘p.’). If there are
two authors, use ampersand (&) in parentheses:

Alden T. Vaughan and Virginia Mason Vaughan (1993) argue that in The Tempest,
Caliban is ‘an ignoble savage’ (p. 48).

OR
It has been argued that in The Tempest, Caliban is ‘an ignoble savage’ (Vaughan &
Vaughan, 1993, p. 48).

2. Longer quotations (40 words and above): author, year of publication, page number
(preceded by ‘p.’). It should be indented as a free-standing block quote, with no quotation
marks. The parenthetical citation should come after the closing punctuation mark. If there
are two authors, use ampersand (&) in parentheses:
 Plagiarism and Academic Integrity – Workshop
Ms. Sachini Seneviratne
PGIE
2018

Whatever Shakespeare’s personal perception of the New World may have been,
The Tempest surely portrays Caliban as an ignoble savage – though not
necessarily an American savage. No kind words come his way. He is accused of
ignorance, ingratitude, and lechery. (Vaughan & Vaughan, 1993, p. 48)

Or
According to Vaughan and Vaughan (1993),
Whatever Shakespeare’s personal perception of the New World may have been,
The Tempest surely portrays Caliban as an ignoble savage – though not
necessarily an American savage. No kind words come his way. He is accused of
ignorance, ingratitude, and lechery. (p. 48)

3. Paraphrase: Author, date. Page numbers are encouraged (preceded by ‘p.’).

‘Shakespeare was most probably drawing on the notion of the early modern savage in the
character of Caliban, which is suggested by the character’s (apparent) vulgarity and
baseness’ (Vaughan & Vaughan, 1993, p. 48).
In the list of references, the book would appear as follows:

Vaughan, Alden T., and Vaughan, Virginia Mason. (1993). Shakespeare’s Caliban: A
cultural history. Cambridge: Cambridge University Press.

Note: If it is a city in the US, give the city and the two-letter code for the state
(e.g. Chicago, IL; Houston, TX)

Article in a journal: do not put ‘pp.’ before page range, do not italicize or underline the
parentheses or issue number.
Chico, Tita. (2002). The Arts of Beauty: Women’s Cosmetics and Pope’s Ekphrasis.
Eighteenth-Century Life, 26(1), 1-23.

Follow the same practice for online articles, and include ‘Retrieved from [web address]’ and the
DOI (digital object identifier). If a DOI is not available, use the URL of the journal’s homepage.

Author, A. A., & Author, B. B. (Date of publication). Title of article. Title of Online
Periodical, volume number(issue number if available). Retrieved from
http://www.someaddress.com/full/url/
 Plagiarism and Academic Integrity – Workshop
Ms. Sachini Seneviratne
PGIE
2018

Article or chapter in an edited book: use ‘pp.’ before page range. If there are different editions
of the book, include the information in the parentheses e.g. (3rd ed., pp. 70-90). If you quote an
introduction, preface, etc., cite the relevant title (i.e. ‘Introduction’/‘Preface’/‘Foreword’, etc.) in
between the date and the container of the work.
Targoff, Ramie. (2006). Facing death. In Achsah Guibbory (Ed.), The Cambridge
Companion to John Donne (pp. 217-31). Cambridge: Cambridge University Press.

Work Discussed in a Secondary Source: List the source the work was discussed in:

The secondary source should go in the references list; in the text, name the original work, and
give a citation for the secondary source. For example, if D. Callaghan’s work is cited in S
Chamberlain, and you did not read Callaghan’s original work, cite the Chamberlain work in the
References. In the text, use the following citation:
‘According to Callaghan (as cited in Chamberlain, 2005) …’

Dissertation Abstract
Yoshida, Y. (2001). Essays in urban transportation. Dissertation Abstracts International, 62,
7741A.

Dissertation, Published
Last name, F. N. (Year). Title of dissertation (Doctoral dissertation). Retrieved from Name of
database. (Accession or Order Number)

Dissertation, Unpublished
Last name, F. N. (Year). Title of dissertation (Unpublished doctoral dissertation). Name of
Institution, Location.

If a work has no author, cite it by its title, or the name of the organization (if it is one).

Reference
Purdue Online Writing Lab. College of Liberal Arts and Sciences, Purdue University. Retrieved
from https://owl.purdue.edu/owl/purdue_owl.html, 1 October 2018.
 Plagiarism and Academic Integrity – Workshop
Ms. Sachini Seneviratne
PGIE
2018

A. APA format – In-text citations and reference

Book
Name: Visual Methodologies: An Introduction to the Interpretation of Visual Materials
Author: Gillian Rose
Place of publication: London
Published by: Sage Publications
Year of publication: 2001

Chapter in an edited book

Name: Recent Perspectives on The Tempest
Author: Brinda Charry
Book name: The Tempest: A Critical Reader
Editors: Alden T. Vaughan and Virginia Mason Vaughan
Publisher: Bloomsbury
Place of publication: London
Year: 2014
Page range: 61-91

Article
Name: Visual "Drive" and Cinematic Narrative: Reading Gaze Theory in Lacan, Hitchcock, and
Mulvey
Author(s): Clifford T. Manlove
Source: Cinema Journal, Vol. 46, No. 3 (Spring, 2007), pp. 83-108
Published by: University of Texas Press on behalf of the Society for Cinema & Media Studies

Dissertation
Name: Delivering Workplace Pro-Environmental Behaviour Change Using Evidence-Based
Practice (unpublished doctoral dissertation)
Author: Tom Cudmore
Institution: De Montfort University, Leicester, England
Year: 2015
 Plagiarism and Academic Integrity – Workshop
Ms. Sachini Seneviratne
PGIE
2018

B. Examples of what counts as plagiarism and incorrect citation practice

1. Woolf's fictional narrator of Chapters 1 and 2 constructs, accidentally-on-purpose, an
argument about the way in which women have been disadvantaged through their lack of
access to education and through the misogynistic attitudes that have been hostile to their
achievements of suffrage and their artistic accomplishments. The narrator in the
"answering" frame, Chapter 6, eschews the material argument altogether and instead
argues for a pure Modernist aesthetic free from personal emotions. Here, she asserts that
it is "fatal" to think of one's sex. Yet that was precisely what she spent her first two
chapters doing.

Virginia Woolf’s narrator in A Room of One’s Own is fictional. She constructs, accidentally-on-
purpose, an argument about the way in which women have been disadvantaged through their
lack of access to education and through the misogynistic attitudes that have been hostile to their
achievements of suffrage and their artistic accomplishments. There is also a narrator in the
"answering" frame, Chapter 6, who eschews the material argument altogether and instead argues
for a pure Modernist aesthetic free from personal emotions. She says it is "fatal" to think of one's
sex. But that is what she wrote in the first two chapters.

2. The essay's most significant conflicts concern the relation between the aesthetic and the
political, between Woolf's desire that artists not think their sex when they create and the
fact that they invariably do, between her wish to keep anger away from art so that the
artist can contemplate "the thing itself," and her recognition that "the thing itself” may
indeed be anger.

Aesthetics and politics both play a part in A Room of One's Own. Woolf desires that sex should
not be a concern when writing, but as she herself notes, they invariably do. She also advocates
that anger should not be a part of art, so the artist should think about ‘the thing itself’.
 Plagiarism and Academic Integrity – Workshop
Ms. Sachini Seneviratne
PGIE
2018

3. In both To the Lighthouse and Room of One 's Own, Woolf engages, as many
aestheticians and theorists before and after her have done, in the question of whether or
not the "political" can be distinguished from the personal, of whether one's experience of
self in the world can be entirely private – or entirely universal – and whether that
experience can be unaffected by ideology or by such social constructions as gender. In
Chapter 6, the fictional frame, she seems to come down on the side of the apolitical,
androgynous artist. Yet her nonfictional authoritative narrator questions that possibility
by returning once again to the issue of material circumstances, as does Woolf herself by
changing her title from "Women and Fiction" to A Room of One’s Own.

Woolf explores the relationship between the private and personal and the public and political in
both To the Lighthouse and A Room of One 's Own, in the light of paradigmatic ideology and
gender, questioning whether or not the private/public dynamic is influenced by the latter. In
Chapter 6, she appears to suggest a sexless, politically neutral figure, but her actual authoritative
voice still remains grounded in the realities of the material world. This itself is signalled in a
nutshell by Woolf’s title change: her talk "Women and Fiction" metamorphoses into A Room of
One’s Own (Wall).

Reference
Wall, Kathleen. (1999). Frame Narratives and Unresolved Contradictions in Virginia
Woolf's "A Room of One's Own". Journal of Narrative Theory, 29(2), 184-207.
 Plagiarism and Academic Integrity – Workshop
Ms. Sachini Seneviratne
PGIE
2018

C. Paraphrasing and citation

a. Pick a quote from each text and work it into a sentence of your own
b. Paraphrase the paragraph
c. Provide an APA format reference for the work.

Make sure to use in-text citation where necessary in this exercise.

i. Research into attitudes towards learned women in the humanist texts of the
Renaissance is left with these attitudes as insoluble paradox: on the one hand, texts on
education encourage the training of girl children (by direct analogy with the
acceptable occupations of spinning and embroidery, it will keep their "idle hands"
busy); on the other, educated girls must display no more than that "accomplishment"
which fine needlepoint and musical competence also connoted.
Article: Cultural Confusion and Shakespeare's Learned Heroines: "These are old
paradoxes"
Author(s): Lisa Jardine
Journal: Shakespeare Quarterly, Vol. 38, No. 1 (Spring, 1987), pp. 1-18

ii. I resisted all the way: a new thing for me, and a circumstance which greatly
strengthened the bad opinion Bessie and Miss Abbot were disposed to entertain of
me. The fact is, I was a trifle beside myself; or rather out of myself, as the French
would say: I was conscious that a moment's mutiny had already rendered me liable to
strange penalties, and, like any other rebel slave, I felt resolved, in my desperation, to
go all lengths.
Book: Jane Eyre
Author: Charlotte Brontë
Publisher: Wordsworth Classics
Place of publication:
Year: 1992
Page: 7
 Plagiarism and Academic Integrity – Workshop
Ms. Sachini Seneviratne
PGIE
2018

iii. The key to the unique power of movies to manipulate our sense of space is the
motion-picture camera, particularly its lens. We identify with this lens, for it
determines our perception of cinematic space. Indeed, if we didn’t automatically
make this identification—assuming, for example, that the camera’s point of view is a
sort of roving, omniscient one with which we are supposed to identify— movies
would be almost incomprehensible. The key to understanding our connection to the
camera lens lies in the differences between how the human eye and the camera eye
see.
Book: Looking at Movies: An Introduction to Film (3rd ed.)
Authors: Richard Barsan and David Monahan
Publisher: W. W. Norton
Place of publication: New York, New York
Year of publication: 2010
Page: 45

D. Spotting plagiarism: Activity: https://plagiarism.arts.cornell.edu/tutorial/exercises.cfm

References
Academic Integrity. Princeton University. (2017). Retrieved from
https://pr.princeton.edu/pub/integrity/pages/plagiarism/, 1 October 2018.
Recognizing and Avoiding Plagiarism. College of Arts and Sciences, Cornell University.
https://plagiarism.arts.cornell.edu/tutorial/principles.cfm, 1 October 2018.

Purdue Online Writing Lab. College of Liberal Arts and Sciences, Purdue University. Retrieved
from https://owl.purdue.edu/owl/purdue_owl.html, 1 October 2018.

Other useful websites

Understanding Plagiarism (Indiana University) – https://www.indiana.edu/~tedfrick/plagiarism/
The Innovative Instructor Blog (Johns Hopkins University) –
https://ii.library.jhu.edu/2012/11/05/teaching-your-students-to-avoid-plagiarism/