- Last 7 days
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bibleineverylanguage.org bibleineverylanguage.org
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It came about after this that his master's wife cast her eyes on Joseph and said, "Lie with me." 8 But he refused and said to his master's wife, "Look, my master does not pay attention to what I do in the house, and he has put everything that he owns under my care. 9 No one is greater in this house than I am. He has not kept back anything from me but you, because you are his wife. How then can I do this great wickedness and sin against God?"
Joseph was tested by Yahweh through the pharoah’s wife to see if he would sin, and while Joseph stayed true to his beliefs, he was later on accused of advancing on her. Joseph was tested and put through suffering and almost faced exile and death but justice prevailed in the end. Joseph ended up rising up to a high position of power in Egypt, and saved many people from famine. From a theological perspective, Yahweh in the Old Testament is hard, but fair. This teaches that Yahweh isn't a cruel God, but one that allows tests of faith and if you're like Joseph, you will be redeemed for having that faith. Yahweh teaches a just world, where justice is always served, even if it’s delayed sometimes.
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www.gutenberg.org www.gutenberg.org
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Grappling with Grendel. To God I am thankful To be suffered to see thee safe from thy journey.
Annotation by: Samuel Godinho CC License: CC- BY-NC Tag: #SP2025-LIT211
I find the religious tension within the poem to be very interesting. The narrator and Beowulf frequently reference God and divine justice, but the poem still upholds Paganism and pagan ideals like fate and blood vengeance. This also shows the transitional period in which it was written, showing a cultural tug of war with the merging of old beliefs and emerging Christian values. The original poem shows many pagan values but once it was transcribed and translated it took on more Christian characteristics. This is an example of how religious values influenced this text.
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- May 2025
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www.cais-soas.com www.cais-soas.com
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"I counsel you, let Kay-Kavous decide between you." And they listened to the voice of the counsellor, and they took with them the Pari-faced, and led her before Kay-Kavous, and recounted to him all that was come about. But Kay-Kavous, when he beheld the beauty of the maid, longed after her for himself, and he said that she was worthy of the throne; and he took her and led her into the house of his women.
Instead of asking the lady herself, Tous and Giwe insisted on asking Kay-Kavous about who she belongs to. And Kay-Kavous was attracted to her beauty and ended up having her all by himself. In conclusion, nobody thought that it was appropriate to ask it to her itself. It shows that they did not regard her opinion or whom she wanted to partner up with, since she was a woman. Her voice was not even heard. She was barely an object, an eternal source of beauty and entertainment for them. It can be said that females were not given any leading roles neither their decisions mattered at that time. It was a full on patriarchal society where it was the gender role of the men to decide the fate of women whom they had never even had any interactions before.
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Now when all was ready, Kay-Kavous bade Siawosh his son ride into the midst of the burning mount, that he might prove his innocence. And Siawosh did as the King commanded, and he came before Kay-Kavous, and saluted him, and made him ready for the ordeal. And when he came nigh unto the burning wood, he commended his soul unto God, and prayed that He would make him pure before his father. And when he had done so, he gave rein unto his horse, and entered into the flame.
This incident serves as evidence of valiant bravery, as well as the unavoidable tragic outcome. Kay-Kavous's order for Siyavash to endure such a cruel test exposes the harsh and frequently nonsensical nature of the Shahnameh's legal system. Rather than resorting to dialogue or a fair trial, Siyavash is made to prove his innocence through a life-threatening trial by fire. In doing so, he displays an unshakable belief in his own virtue and submits to his father’s command without resisting. As he seeks purity before his father, his prayer to God prior to going into the flames demonstrates his strong belief in divine justice. Even though he is innocent, his entry into the fire represents the extent he will go to in order to protect his honor. This moment in specific reveals the inherent absurdity of the test, as Siyavash’s need to prove his virtue through such a drastic and senseless act speaks to a broader societal issue in which virtue is judged by unrealistic, and impractical measures. The irony is obvious that even though Siyavash lives unharmed, his good deeds and pure heart will not ultimately spare him from the fate that awaits him. His role as a tragic hero, virtuous and innocent yet still chained by a system which demands complex proof of his worth, is preserved as a testimony by this trial. Additionally, as a piece of the general story, the passage reflects traditional gender roles, and in this case it is the way masculinity is defined and/ tested in the context of heroism and honor.
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But Soudabeh, when she had so far accomplished her longing that she had gotten him within the house, desired that he should speak with her alone. But Siawosh resisted her wish. And three times did Soudabeh entice him behind the curtains of the house, and three times was Siawosh cold unto her yearning. Then Soudabeh was wroth, and she made complaint unto the King, and she slandered the fair fame of Siawosh, and she spread evil reports of him throughout the land, and she inflamed the heart of Kay-Kavous against his son. Now the King was angered beyond measure, and it availed nought unto Siawosh to defend himself, for Kay-Kavous was filled with the love of Soudabeh, and he listened only unto her voice. And he remembered how she had borne his captivity in Hamavaran, and he knew not of her evil deceits. And when she said that Siawosh had done her great wrong, Kay-Kavous was troubled in his spirit, and he resolved how he should act, for his heart went out also unto his son, and he feared that guile lurked in these things. And he could not decide between them. So he caused dromedaries to be sent forth, even unto the borders of the land, and bring forth wood from the forests. And they did so, and there was reared a mighty heap of logs, so that the eye could behold it at a distance of two farsangs. And it was piled so that a path ran through its midst such as a mounted knight could traverse. And the King commanded that naphtha be poured upon the wood; and when it was done he bade that it be lighted, and there were needed two hundred men to light the pyre, so great was its width and height. And the flames and smoke overspread the heavens, and men shouted for fear when they beheld the tongues of fire, and the heat thereof was felt in the far corners of the land.
If Siawosh is the hero then Soudabeh can be considered the villain since her lies led him to go through a lot of pain. She is illustrated as a woman who harbors intimate feeling for her step son and spreads ill things about him when he did not comply with her feelings. Since Kay-Kavous liked her dearly, he could not go against her. However, he never made an effort to ask his son and clear all the misunderstandings there and then. Or it could be that men were supposed to prove their innocence through illogical tests and strengths rather than simply answering the questions honestly. Likewise, had he failed and died during the process, would an innocent person be branded as a criminal? And why was Soudabeh not questioned? How can words enough to prove that she was innocent yet his son was not?
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classics.mit.edu classics.mit.edu
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Lady goddess, awful queen, daughter of Zeus, all hail! hail! of Latona and of Zeus, peerless mid the virgin choir, who hast thy dwelling in heaven's wide mansions at thy noble father's court, in the golden house of Zeus. All hail! most beauteous Artemis, lovelier far than all the daughters of Olympus!
The use of elevated language in this line eg "awful queen," "peerless mid the virgin choir," "golden house of Zeus" elevates the goddess Artemis to the status of a national symbol. Euripides' deliberate choice of language reinforces the implicit connection between the divine and the state. The language and tone links individual piety to national identity. The language itself becomes a tool of nation-building, shaping and reinforcing Greek cultural narratives.
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But for his sins against me, I will this very day take vengeance on Hippolytus; for long ago I cleared the ground of many obstacles, so it needs but trifling toil. For as he came one day from the home of Pittheus to witness the solemn mystic rites and be initiated therein in Pandion's land, Phaedra, his father's noble wife, caught sight of him, and by my designs she found her heart was seized with wild desire. And ere she came to this Troezenian realm, a temple did she rear to Cypris hard by the rock of Pallas where it o'erlooks this country, for love of the youth in another land; and to win his love in days to come she called after his name the temple she had founded for the goddess.
In this passage the goddess makes her case for the eventual penalty leveled against Hippolytus by the wrathful goddess. The audience is presented with the transgression as well as the intended punishment. Just as Greek society had a strict code of laws regarding civil responsibilities they also had a moral code from the Gods. The reiteration of these standards in this form promotes general acceptance among the masses.
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Wide o'er man my realm extends, and proud the name that I, the goddess Cypris, bear, both in heaven's courts and 'mongst all those who dwell within the limits of the sea and the bounds of Atlas, beholding the sun-god's light; those that respect my power I advance to honour, but bring to ruin all who vaunt themselves at me.
This seems to be a standard message of foreboding and the promise of consequence for defying the gods. The opening line sets the tone and prepares any audience who will hear the message to receive the message from the gods. The cultural saturation promotes shared cultural values.
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www.hariomgroup.org www.hariomgroup.org
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She followed him, most noble dame,And, raised to heaven in human frame,A pure celestial stream became.Down from Himálaya's snowy height,
This passage captures the divine nature of Sita’s devotion, as she follows Rama—her husband—into the heavens, symbolizing her loyalty and the spiritual journey she undertakes with him. The phrase “most noble name and race” refers to Rama’s royal and divine heritage, positioning him as the ultimate hero, while Sita’s role as his devoted companion further emphasizes her sacrificial and idealized feminine qualities. The image of “pure celestial stream” descending from the Himalayas invokes a sense of divine purity and transcendence, reinforcing her role not just as a wife but as a goddess-like figure.
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- Apr 2025
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www.cais-soas.com www.cais-soas.com
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"If I listen to the commands of the King, I do that which is evil; yet if I listen not, surely he will destroy me. Wherefore I will send back unto Afrasiyab the men he hath placed within my hands, and then hide me from sight."
In the story of Siyavash in Ferdowsi Epic Shahnameh, the thematic consistency of another male hero who is defined by chastity and patience, like Joseph and Yusuf. The gender roles in this Persian epic mirror the similar ancient patriarchal ideas. Siavash's rejects the advances of the queen; in embarrassment she accuses him of rape; this scene locks in that Siyavash is the superior righteous man and Sudabeh is the lustful and temptress woman. What is different from Savayah's story to the others is the tragic turn that occurs to him despite his virtue and righteousness. Siyavash is a victim of political corruption, not just female deceit. Linguistically, the Shahnameh paints Siyavash as a noble man with a voice that is almost otherworldly in that of honor, through his select speech and manners. It is important to also know that the timing that this Epic was written emphasizes the theme that although we deem traits such as loyalty and riotousness as something to live by, in the face of political corruption it is easy to lose them. The portrayal of gender as well with the idea of masculine virtue being the superior to the chaos that ensues in woman is prevalent in the story.
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en.wikipedia.org en.wikipedia.org
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I greet her from afar, for I am pure.
In the tragedy of Euripides, Hippolytus is our hero in the story who rejects the concept of woman entirely, he devotes himself entirely to the goddess Artemis and is chastised. Phaedra, his stepmother, is manipulated by Aphrodite and is made to fatally fall in love with Hippolytus. She accuses him after he refuses sheer. The gender roles in this Greek tragedy, while following a similar theme of the heroic and virtues man rejecting the tempting woman, there is a much heavier and thought-provoking concept of Hippolytus and his masculinity being defined negatively due to his anti-woman and sheer arrogance towards them entirely.
Linguistically, the dialogue shows the fragility of humans and the unyielding power of impulsive gods, Greek langue is full of tragic diction and figurative langue that shows the male virtue and one female's guilt and shame that on both ends of the spectrum can either be heroic or destructive. The tragedy critiques patriarchal norms with Hippolytus’ downfall being his hubris and rejection in something such as feminine human nature, and in comparison, to all four stories, Hippolytus has the most critical views of gender among them all.
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www.repository.govardhanacademy.com www.repository.govardhanacademy.comDraupadi.pdf16
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WITH YUDHISHTHIRAFOR A HUSBANDL I WILL NEVER BEk FREE O F GRIEF.|V THE INSULT AFTERI k THE GAME OFDICE STILLRANKLES IN M
Enough is enough. Draupadi had to go through a lot because of the cowardice of her husband, Yudhishthira in particular. Thanks to Bheema, the problem of Keechaka had been resolved. Had it not been for him, Yudhishthira might have just watched her being disrobed again and again without even trying to help her.
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S H A L LTRY
It was very wrong of her to try and set Draupadi with her brother even though he had forced her to do so. She should have denied the request and alarmed Draupadi instead of this. It is really sad to see a woman not understanding other woman's sorrow. Looks like a woman is a woman's true enemy.
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THUS DRAUPADI WITH KRISHNA’SHELP THWARTED DUPYODHANA's ATTEM PT TO
Friends in need are friends indeed.
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& U T D R A U PA D I U T T E R E D N O T A W ORD.
If she wanted, she would have chosen the life full of riches but she chose not to do so. If not for her love, and responsibilities as a wife, I do not know what else it is for.
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PO NOT COVETB O O N S . MY .HUSBANDS WILLACHIEVE T
This kind of shows Draupadi's love and loyalty towards her husbands even though they literally were about to destroy her life.
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0 KURU ELPERS,1 CANNOT BEARTH I5 PERSECUTIONANY LON&ER.AM IWON OR. N O T ?I SHALL ABIDE Ak BY YOURf k VERDICT
I would say that she was the bravest among the braves present in the room. Nobody thought that it was the best to interrupt the game when a woman was objectified and nobody questioned Duryodhana and Shakuni's play. They were all there for their petite entertainment. And when Dhritrarastra realized that it was wrong, it was too late and wanted to cover up the incident by fulfilling three of her wishes.
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I SHALL, IN THEBATTLEFI ELD, TEAROPEN THE BREASTOF THI5 VILLAIN OFTHE BHARATARACE, AND DRINKHIS LIFEBLOOP
What he said eventually came true. However, I believe that he had the power to stop all this from happening by just advising his brother that it was enough when he bet Draupadi in the game. Where did his conscience and bravery go when Draupadi needed it the most?
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AN D COMMIT THESIN O F IS N O R IN GMY M O T H E R ’SO R D E R S
Words of elders were taken as absolute.
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F U LL O FJO Y , DRAUPAD ICAME U P TOPiRJU N fi WITH AG A R LA N D O FFLO W ERS
Even though the deal was to get Draupadi married off to anyone who won the contest, king Panchala and his family still should have conducted some kind of background check of every contestants present. The life of his daughter depended on it. I do not know if it is a good thing that the Pandavas were fated to get married to her however, being a father, he could have at least shown interest to this matter for the safety and security of his daughter. Whatever the leading male figure in the family says have to be followed by the women in the family and this tradition is still prominent in my society even though it is a misogynistic point of view.
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A HUMBLE BRAHMAN. VET HOWN O B L E A N D C O N F ID E N T 15HIS BEARING.
Looks like Draupadi was interested in Arjuna at this time, even though she did not know who he was just because he came in there as a Brahmin. Had Karna been there instead of him, would she still be interested on him?
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I WILL NEVER MARRYO N E O F TH E* SUTA C A S T E ! > Z.THE GREAT PAY DAWNED.WHEN ALL WERE ASSEMBLED,DHRJSHTADYUfANPi CAMEFORWARD LEADINGDRAUPADLHEAR O K IN S S ! THISIS THE B O W .T H ENOBLEMAN W HOHITS THE MARKSHALL TODAY WEDMY S IST E R .
Nobody till now knows that Karna is in fact lord Surya and Kunti's son, thus he is of a noble birth. However, it can be seen that Draupadi humiliated him based on his caste/last name. Even though she was a woman of great knowledge, she should have still not discriminated others based on their caste. The whole caste system was formed to assign people work based on their family name. However, there is no rule that one must stick to the profession that he/she does not like. And even today, we can often see racism based on the surname. If you are born in a Suta family does not mean that you are a lesser being. Had she be born in Suta family instead of the noble family, would she say the same to the guy from the noble family? Nevertheless, she should have been mindful about Karna's feelings and he even a noble at that time since Duryodhana made him a king.
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Draupadi was the total wom an ; complex and yetfemi
Draupadi was far more intelligent than her husbands. When Yudhishthira messed up in the dice game, she had to take matters on her hands. She questioned her husbands, their cousins, uncles and everybody who witnessed the game about their morality and humanity. She vowed not to tend to her hair so that her husbands would be reminded of the injustice that she had to go through just because of them. In a sense, it was her way of getting justice herself that her husbands ignored.
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Draupadi sprang full grow n from the fire but noother heroine in Hindu m ythology was as earthy asshe.
Draupadi was born from the fire along with her brother. She was far more than a capable and knowledgeable woman, more than what all the five Pandava brothers deserved. It could be said that her character had been less mentioned so that she would not outshine her husbands or other male characters. Saying that the story more shifted towards the masculinity and shadowing the importance of feminism in the society.
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THE WIVES OF TH O SWHO HAVE IN JU R E DYOU WILL S U F F E RTHI5 AGONY. YOUSHALL YET REIGNAS TH E Q U E E N .M 'W O R D S SHALLNOT BE IN VAIN
If I got humiliated because of my husbands does not mean that others/ my enemies' wives deserve the same. It is their husbands who need to be punished and suffered, not their wives. It kind of feels unfair to me.
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D O N O T B E I M P E T U O U S . I TW O U L D B E A 6A IN S TP H A R M A ,W H IC H ISDIVINE A N D SU PER IO RT O L IF E ITSELF. IA G R E E D T O T H ES T A K E S T H O U G HI K N E W 5 H A K U N I
If he knew what was going to come, then why did he even do it? If playing the game of dice was his karma to gain dharma, then it does not make any sense at all. Personally, I do not wish to have a husband who's going to put me and his brothers through a lot of suffering just because he wanted to take a risk. And him advising Bheema to be patient is very hypocritical at this moment. I would like to comment that he failed as a husband and also as a brother, the moment he agreed to Shakuni's game knowing that he would be dishonest.
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RAUPADI ONCE M ORE THE CHER/5HED QUEENOF POWERFULVIRTUOUSKIN <35
Draupadi's revenge was finally addressed in the epic battle of the Mahabharata. The Pandavas won the war and got their rightful kingdom back from the Kauravas. And Draupadi once again became the queen. Draupadi's sufferings motivated the brothers to be unified and fight against them. Draupadi always made sure that they were reminded of their wrongdoings towards her and fight for her, fight against those who did wrong to her. At the end, good won against evil. It makes me happy to know that even though it was late, she as able to see the demise of those who attempted to sexually harm her, she got justice at the end. It can be understood that they expected Draupadi to go through all that but not raise voice against it at all. She was supposed to be a voiceless girl who dared not speak against unjust done to her. Likewise, her husbands and their cousins were right to abuse her physically, mentally and even sexually. Nevertheless, they were neither accused of the wrongdoings nor prosecuted for that. It seems that what ever they did was absolutely fine. And her voice was not even heard when she did so, meaning that, powerless Draupadi's words were not even considered worthy to be listened.
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- Jun 2024
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docdrop.org docdrop.org
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si on tape Hexagon game et avec mon nom à côté on va trouver plein d'exemples et des modèles pour pouvoir les reproduire 00:02:25 c'est des petits outils très simples on donne aux élèves des hexagones sur lesquels on a ajouté des images on a ajouté des mots on a ajouté des citations et donc on crée une collection 00:02:39 d'hexagones et on affiche un sujet au tableau et on leur dit et ben vous avez ces hexagones vous les utiliser pour répondre à cette question et vous les organisez de la façon qui vous semblera 00:02:52 la plus opportune euh donc voulez vous pouvez faire des flèches vous pouvez faire des titres vous pouvez les coller les un à côté des autres vous pouvez faire des dessins à côté des hexagones mais à la fin je veux le poster le plus 00:03:06 clair et le plus cohérent possible que vous pourrez éventuellement aller présenter au reste de la classe à l'oral
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- Jul 2022
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docs.italia.it docs.italia.it
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Nella licenza ODbL definita come “eventuali termini o misure tecnologiche presenti nel Database, in un Database Derivato, o in tutto o in parte sostanziale dei contenuti che alterano o limitano i termini della Licenza”, intesa, quindi, come divieto di imposizione salvo possibilità di lasciare copia aperta. Nella licenza CC-BY definita come “misure che, in assenza di apposita autorità, possono non essere eluse ai sensi di leggi che adempiono agli obblighi di cui all’articolo 11 del Trattato WIPO sul diritto d’autore adottato il 20 dicembre 1996, e/o accordi internazionali simili”, intesa quindi come divieto di imposizione senza alternative
piccola nota: questo è anche uno dei motivi per cui non c'è compatibilità fra CC-BY 4.0 e ODbL
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- Oct 2021
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certificates.creativecommons.org certificates.creativecommons.org
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Peers can help you go from No Open Access to some Open Access.
It's difficult to spread Open Access and Free cultural work licenses if blog posts about Open Access are not compatible with Open Access. The article by Anne Young has a non-commercial restriction. It would be nice to contact Anne Young to propose to release her blog post under CC BY-SA license or anyway under a Free cultural work license.
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- Feb 2021
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www.stm-assoc.org www.stm-assoc.org
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Emerald
https://www.emeraldgrouppublishing.com/products/open-research-emerald/our-open-research-policies
Emerald already has progressive green open access / self archiving policies which allow immediate open access for the authors accepted manuscript (AAM) under a creative commons attribution non-commercial license (CC BY-NC). This demonstrates that Emerald cannot agree with much of the statement they are signing. Note, Plan S ask for CC BY or CC BY-ND is permissible under Plan S by exception. The funders' request for a more permissive CC BY license is all I can identify as a potential problem, but there are no specific concerns raised in the statement.
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work against the shared objective of a more open and equitable scholarly ecosystem
Again, it is not at all clear what is meant by this statement. Equity in academia is an incredibly important goal. This statement currently reads like unsubstantiated rhetoric. Libraries, Institutions and funders have found that the unintended consequences of deficient deals with publishers supported by their funds can include inequitable access to no-additional-cost publishing. However, the intention of the Rights Retention Strategy (RRS) is to arm all authors with detailed knowledge of their rights to ensure they have the same minimum opportunity to widely disseminate their work. Furthermore, by providing a version of an output with a CC BY license there is greater equity around accessing the research and therefore greater opportunity to build on it for public benefit, making a more equitable environment for all. The version of record (VoR) remains important in this scenario, so more equitable access should not undermine the sustainability of journals and platforms which are valued.
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However, we are unable to support one route to compliance offered by Plan S,
The publishers below will not support the Plan S rights retention strategy (RRS). In its simplest form the RRS re-asserts the authors' rights as the rights holder to assign a copyright license of their choice (CC BY informed by their funding agency) to all versions of their research/intellectual output. In the case of the RRS states that the author should apply a CC BY license to their accepted manuscript (AAM) if they cannot afford to pay article processing charges or choose not to apply a CC BY license to the Version of Record (VoR), which they are free to do. Therefore, this statement is either saying the undersigned will not carry publications forward to publication (most appropriate approach), or they will not support the same copyright laws which fundamentally protects their rights and revenue after a copyright transfer agreement is signed by the rightsholder.
Academy of Dental Materials
Acoustical Society of America
AIP Publishing
American Academy of Ophthalmology
American Association for Pediatric Ophthalmology and Strabismus
American Chemical Society
American Gastroenterological Association American Institute of Aeronautics and Astronautics
American Medical Association
American Physical Society
American Society for Investigative Pathology
American Society for Radiation Oncology
American Society of Civil Engineers
American Society of Hematology
American Society of Clinical Oncology
American Association of Physicists in Medicine
American Association of Physics Teachers
AVS – The Society for Science and Technology of Materials, Interfaces, and Processing
Brill
British Journal of Anaesthesia
Budrich Academic Press
Cambridge Media
Cambridge University Press
Canadian Cardiovascular Society
De Gruyter
Duncker & Humblot
Elsevier
Emerald
Erich Schmidt Verlag
French Society of Biochemistry and Molecular Biology
Frommann-Holzboog Verlag
Future Science Group
Hogrefe
International Association for Gondwana Research
IOP Publishing
Journal of Nursing Regulation
Journal of Orthopaedic & Sports Physical Therapy (JOSPT).
Julius Klinkhardt KG
La Découverte
Laser Institute America
Materials Research Forum LLC
The Optical Society (OSA)
Pearson Benelux
SAGE Publishing
Society of Rheology
Springer Nature
Taylor & Francis Group
The Geological Society of America
Thieme Group
Uitgeverij Verloren
Verlag Barbara Budrich
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wbv Media
Wiley
Wolters Kluwer
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- Jan 2021
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icones de jeu
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- Oct 2020
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commons.wikimedia.org commons.wikimedia.org
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transport en commun
bus barré
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- Oct 2018
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opencontent.org opencontent.org
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Consequently, the SA condition does not apply to your contributions to modified works including these kinds of changes.
Examples would really help. I can't imagine a scenario where anyone would care about this. As was pointed out in the comments, making minor corrections to a CC BY-SA work would not enable anyone to reshare that entire work with corrections under a new license. So the case here is if someone wanted to share minor corrections to a work independently of the work itself and license those minor corrections differently? For example: Here are my typo corrections to a published work, outside of the context of that published work? Example please...
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In other words, the CC licenses (all of which include the BY condition) enable the creator of a work to prohibit you from attributing them. However, except in the extremely rare cases where the creator explicitly prohibits you from attributing them, you are always required to attribute the creator of a work shared under a CC BY license.
Except for the semi-famous case of the open resources collected in lardbucket, how often does this example appear in the wild?
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- Sep 2018
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certificates.creativecommons.org certificates.creativecommons.org
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To add to "More scholarship about CC licenses" and to support unit 4.1: Bishop, Carrie. “Creative Commons and Open Access Initiatives: How to Stay Sane and Influence People.” Art Libraries Journal 40.4 (2015): 8–12. Web.
Bishop presents a cheerful exploration of the Tate’s mammoth enterprise to digitize and release into the public Web 52,000 works of art, many of which are still under copyright. Commonly, galleries and museums would like to broaden exposure to the artwork in their collections, but when artists or their descendants are still actively monitoring use and income, there can be a barrier between connecting the public with the art work and the needs of the artistic community. Bishop describes the Tate’s desire to license the newly digitized images under a Creative Commons license to provide clear guidelines to the public, but at the same time to respond to the fears, hopes, and wishes of their artists. The Tate decided that it could best realize its goal to "democratize access" and to connect the public with British artists through applying the CC-BY-NC-ND license—both making the images available and quelling the concerns of the artists or their estate managing family members. The article provides an interesting perspective to the discussion of “open culture” or “free culture.” Some of this freedom may come about in incremental doses. The CC license might make it possible to allow an artist to connect their work with a larger public, at the same time that it makes them confident that their work won’t be misused or appropriated in an undesired manner. Aart museums seem to have a difficult relationship with open access and Creative Commons licensing. The Getty, for instance, has a fairly complicated statement of terms that make murky all that CC transparency, so there is viewing the material and then there is repurposing the material. The result is that a slow, measured pace, while nurturing the artist along, may be the way to ultimately make CC and Open Access a norm rather than an exception.
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certificates.creativecommons.org certificates.creativecommons.org
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Gulley, Nicola. “Creative Commons: Challenges and Solutions for Researchers; a Publisher’s Perspective of Copyright in an Open Access Environment.” Insights: the UKSG journal 26.2 (2013): 168–173. Web. Unit 3.2 (New Article)
Gulley, Nicola. “Creative Commons: Challenges and Solutions for Researchers; a Publisher’s Perspective of Copyright in an Open Access Environment.” Insights: the UKSG journal 26.2 (2013): 168–173. Web. Gulley, a publisher with Institute of Physics (IOP) sets out to describe and clarify the CC BY license for researchers who may be wary of making use of it for their own work. The Research Councils UK currently require APC funded OA articles to be made available under a Creative Commons Attribution license . This license is also favored by the UK’s Wellcome Trust).
Although this is a 2013 article, Gulley’s overview of the six licenses is still largely valid. The benefits she sites include clarity for the user, the ability to build on past research—the primary need for scientists and providing a nearly internationally applicable standard (something that has only improved since she wrote her article). Gulley cites that authors have expressed concern over maintaining control of their work over time and against derivative uses, maintaining the integrity and context of their work, and the compatibility as CC licenses are combined into a single work.
Gulley explains in detail the more weedy aspects of CC-BY licensing, and how to address some of the concerns she mentioned in line with established Creative Commons policy. In fact, IOP has adopted CC BY licensing for its publications (presumably for their openly accessible content) because the opportunities for sharing outweigh any negative effects.
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