Citation

Trans rights advocacy is a social justice movement that is transforming language practices relating to gender. Research has highlighted the fact that language which constructs gender as binary harms trans people, and some trans studies researchers have developed guidelines for honouring trans people's names and pronouns. The language of academic writing is an area of discussion where questions of trans rights and trans experiences have not yet been addressed. This paper draws on two data sources to explore the citation experiences and practices of trans scholars and activists: a web-based archive of writers' perspectives built between 2015 and 2016; and a corpus-based study of 14 research articles published in TSQ: Transgender Studies Quarterly. Our analysis highlights the sensitivity that is required of colleagues who work with transgender authors' writing, furthering our understanding of citation as a collaborative and potentially intimate and caring practice. Practices of referring to work by trans scholars pose ethical questions about the social relations expressed in citation in general, enabling applied language scholars to develop a new and different awareness of the sociality of citation.

В настоящее время существует большое количество ресурсов для поиска научной информации, как коммерческих, так и бесплатных. В аспекте поиска и анализа научных публикаций интенсивное развитие информационных технологий привело к качественным и даже революционным изменениям. Несмотря на насыщенность рынка технологических инструментов, программного обеспечения, инструментов информационных технологий и коммуникации, окружающих деятельность ученых, многие из них не используются или используются недостаточно, поскольку они не известны академическому сообществу. Не существует также единого инструмента, способного удовлетворить все потребности ученых в процессе подготовки и рецензирования статей. Основным предметом настоящей работы является обзор и краткий анализ информационных ресурсов и систем, идентификаторов и профилей ученых. Описаны основные поисковые системы, базы данных цитирований, библиотечные информационно-поисковые системы, которые может и должен использовать украинский ученый для поиска научной литературы. Рассмотрены различия поиска информации в коммерческих базах данных от стандартного поиска в Интернете. Приведены примеры практического использования баз данных цитирований. Результаты исследования профилей научных сотрудников Института геофизики им. С. И. Субботина свидетельствуют о недостаточном использовании сервисов Google Scholar учеными и наличие значительного потенциала по увеличению доли их видимости в мировых научно-информационных потоках. Только третья часть всех сотрудников Института с ученой степенью имеют профиль в Google Scholar. Показано, что высокая статистика цитирования основывается не только на качестве и актуальности научных трудов, но и на активности исследователя в современном медийном пространстве. Даны рекомендации по регистрации и использованию международного идентификатора исследователей ORCID (Open Researcher and Contributor ID).

يهدف هذا الدليل إلى تحديد قواعد واضحة لتنظيم الرسائل والأطروحات العربيّة في مجال علم النفس والعلوم التربويّة والاجتماعيّة؛ ويهدف أيضًا إلى تقنين طرق الإسناد والاستشهاد باللغة العربيّة، تأخذ بالاعتبار أساليب النشر الحديث ومتطلبات النشر الإلكتروني عبر قواعد المعلومات والمستودعات الرقميّة. ويعتمد الدليل في جوهره على دليل الجمعيّة الأميركيّة لعلم النفس الطبعة السابعة، مع بعض الفروقات العائدة لخصوصيّة اللغة العربيّة من جهة ولمتطلّبات تنظيم الرسائل والأطروحات من جهة أخرى. 
 يحتوي الدليل على خمسة فصول. يتناول الفصل الأوّل أخلاقيّات النشر ومبدأ احترام الملكيّة الفكريّة. ويعرض الفصل الثاني بنية العمل وتنظيمه وكيفيّة تقسيم الفصول، بالإضافة إلى الترقيم ونوع الخط والتباعد بين الأسطر وطريقة عرض الرسوم التوضيحيّة والجداول، وغيرها من المسائل المتعلّقة بالشكل العام للأطروحة أو الرسالة. أمّا الفصل الثالث فيتناول أسلوب كتابة الاستشهادات المرجعيّة في متن النصّ. يوضّح الفصل الرابع طريقة كتابة البيانات الببليوغرافيّة في قائمة المراجع، مع أمثلة عن مختلف أنواع مصادر المعلومات. ويحتوي الفصل الخامس على تعليمات دقيقة لكيفيّة إيداع الدراسة في قواعد المعلومات ممّا يسهل استرجاعها من قبل الباحثين. ويجد القارئ في الملحق قائمة بتحديثات الطبعة الثانية من هذا الدليل، بناءً على تلك التي أحدثها دليل الجمعيّة الأميركيّة لعلم النفس في طبعته السابعة، بصيغة مقارنة بين الطبعة السابقة والحاليّة.

Productivity metrics provoke mixed responses from the research community. The Open Researcher and Contributor ID (ORCID) facilitates an open and clear data infrastructure to handle publication products. ORCID is a unique identifier that accepts data interoperability for funders, industries, and publishers by exploring indicators for research aspects that they aspire to evaluate instead of using current indicators because they are readily accessible. This manuscript examines the use of ORCID for publication metrics, grant applications, management and reporting platforms. The benefits of ORCID offer a quick way to promote and organize a researcher's work as well as to foster better communication among researchers.

The Middle Ages greatly valued originality and creativity, although these qualities were not only linked in the long chain of imagination (as we usually do today), but they were also framed in the field of memory. Therefore, the usual assumption that memory is an exclusive resource of an oral society does not seem to be entirely satisfactory: in the Middle Ages the memory was equally present in the more cultured and literary social strata. In fact, during the medieval period, the influence of an inherited pedagogy (from Classical rhetorical roots) meant that the cultivated memory (and the affective appropiation of preexistent material) remained fundamental to medieval literary culture because it was understood as essential not only to reading and composition, but also to the formation of character. This paper suggest some thoughts and sacred and profane examples on this issue.

Results and Discussion chapters are considered difficult to write in a thesis, especially for non-native English writers. However, few studies have been conducted on how writers compose these two genres. This study, therefore, explores the move-step structures of these two chapters in 24 Master’s theses written by Vietnamese postgraduates. Based on the framework by Chen and Kuo (2012) and the discourse-based interviews with actual thesis writers and supervisors, the study found that this group of writers constructed the genres according to their perceived communicative purposes of these chapters. Moreover, the presence of section/chapter introduction-next section/chapter introduction-section/chapter summary cycles tends to reflect the distinctive composition of these texts at the TESOL discourse community in Vietnam. These findings suggest that explicit instructions on rhetorical structures of these two genres should be provided to non-native English writers and attention should also be paid to specific practice of a genre composition in a particular discourse community.

This e-learning/ self-directional learning Module includes four Units, namely Unit 1: Introduction to Research Evaluation Metrics and Related Indicators; Unit 2: Innovations in Measuring Science and Scholarship; Unit 3: Article and Author Level Measurements; Unit 4: Online Citation and Reference Management Tools. This Module was produced under the UNESCO-CEMCA Project Development of Curriculum and Self-Directed Learning Tools for Open Access, 2013-2015.
[Das, Anup Kumar (2015). Open Access for Researchers, Module 4: Research Evaluation Metrics. Paris: UNESCO. ISBN 9789231000829. Editors: Sanjaya Mishra; B.K. Sen]

Souba Rethinasamy (PhD, Associate Professor)
Centre for Language Studies
University Malaysia Sarawak
94300 Kota Samarahan
SARAWAK
Tel    :  +6 082 581 715
Fax  :  +6 082 581 781
Email :  rsouba@cls.unimas.my
http://www.cls.unimas.my/personnel/academicstaff/dr-soubakeavathi-rethinasamy.html
http://unimas.academia.edu/SoubaRethinasamy

A book like this cannot be written in isolation. While most of the text found in
this manual is original, dozens of similar books and experts were consulted,
and many colleagues and friends provided information, feedback, and
suggestions. My greatest thanks goes to Nancy Vyhmeister, author of the first
AIIAS writing manual, for her willingness to share original content and ideas
from her work. Chapter 1 is taken largely from her prior work. She was also
instrumental as a consultant for the Turabian chapter and in overall editing of
this book. Thanks also to Juanita Bissell, for contributing the basis for the
Turabian chapter from her earlier AIIAS Turabian manual. This has been
revised, updated, and shortened, but her work is still the basis for Chapter 6.
Thanks to Elsie Dela Cruz, Prema Gaikwad, and Esther Papaioannou for their
substantial contributions to the APA explanations in Chapter 7. Thanks also to
Bonnie Proctor, the editor at Andrews University, for her willingness to share
ideas, resources, and materials. By now it is difficult to tell where her ideas end
and mine begin, but some of her work is included especially in the introduction,
and in the chapters on academic writing conventions, mechanics, APA and
Turabian. Her support has been much appreciated.

Seminario d'information literacy per gli studenti del corso di laurea in Servizio Sociale @unipr a.a. 2014-2015
bibliografia, citazione bibliografica, information literacy, library and information science, monografie, sentenze, citazione dei documenti giuridici, normativa, giurisprudenza, dottrina

Publishing new knowledge, discoveries and results of research activities is an integral part of scientist’s job. Social networks can serve as one of the publishing channels. More than 2 billion people use social networks worldwide and their use can be found also in science and research today. Social networks enable scientists to, among others, quickly, openly and without any restrictions publish the latest results of their research and share them with the rest of the world. This makes from social networks very useful publishing tool. Publishing usually goes together with citing the source literature. With growing trend of use of posts on social networks as one of the publishing options will also grow the need to cite these new sources of information. According to available information resources area of social networks citing hasn’t been sufficiently explored and standardized yet. There are just some recommendations how to cite selected social networks using some of citation styles (e.g. APA, MLA or Chicago). Another issue is the possibility of including various types of information that can be shared via social networks into commonly used citation file formats such as RIS, EndNote, BibTeX and others.

"Čikago standard, stil i način citiranja,
funkcionalne razlike i obilježja u teoriji i praktičnoj primjeni

Rezime:
Predmet istraživanja predstavljaju standardne odrednice čikago stila citiranja, njegovih općih I funkcionalne karakteristika i općih upotrebnih odrednica. U istraživanju se koristi kvalitativni pristup i u istraživanju je korištena analitička metoda.Rad donosi analizu razlika među načinima dvaju stilova i njihovih dvaju načina navođenja izvora i referenci. Rezultati istaživanja su predstavljeni tabelarno. Istraživanje donosi opće upotrebne odrednice čikago standarda i stila cititanja naučno-istraživačkih radova za humanističke, prirodne, sociološke, sportske i psihološke nauke.

Ključne riječi: čikago standard, čikago stil, čikako format, čikago forme, humanistički stil, CSE stil, autor- datum stil,"

GIF (Graphic Interchange Format) can be defined as a moving image characterized by brevity, repetition (loop) and an apparently low informative content; used as a pseudo-linguistic element, GIF is able to re-mediate a pre-existing text and to resemanticize it. In the first place, the image originates from a process of decontextualization of an audiovisual element, quoting or referring to the original audiovisual text itself (Uhlin) – which can be taken from several media: television, cinema, video art, home made. The audiovisual fragment is then assigned with a new specific meaning, when it is used for a communicative purpose (especially on the Social Networks), acting as a container of variable informations generally designated to substitute articulate colloquial elements both emotional or explanatory (Huber).

GIF acts as the summation of the discourses about intermediality of cinema which, hybridizing with other media, as it happens for the audiovisual fragments stolen by a user with the purpose of assigning new meanings in an online conversation, changes its narrative function and becomes part of a more extended “storytelling” which is not played by finctional characters anymore, but by real actors (the users) using the original medium with new goals. From this perspective, GIFs could be seen as a new form of what Guy Debord called détorunement, that is to say «the re-use of pre-existing artistic elements in a new ensemble», where the extracted fragment looses its own importance to be part of a new significant whole. The GIF follows the dètournement’s fundamental rule that is «the loss of importance of each detourned autonomous element – which may go so far as to completely lose its original sense – and at the same time the organization of another meaningful ensemble that confers on each element its new scope and effect». In Debord ‘s words «leaving the imbeciles to their slavish reference to “citations”», we may think at GIF as what Maria Rosaria Dagostino instead calls ‘cit-action’, defining it as «an active crossreference for the construction of a new sense», which applies independently from the origin of the raw material. Even when the frame is taken from a real life event – and not from audiovisual materials – we must rethink that excerpt as it was taken from a storytelling, which is longer then a TV episode or a movie since it refers to defined characters (the individuals) inside a context (their lives). Extrapolating and detouring frames from the real life, GIFs realize what the Situationists called ‘ultra-détournement’, that is, as Guy Debord and Gil J Wolman argued, «the tendencies for détournement to operate in everyday social life», where to gestures and words are given other meanings.

Then, independently from the origin of the detourned material, whether it comes from an audiovisual text or a real-life event, the emotional load is subjected to the détournement as much as the narrative and iconographic content. Notwithstanding, in some respect, especially speaking about carrying emotions, GIFs seem to exceed the détournement. In fact, when they pass from being part of a continuum (fictional or actual) to being a GIF properly defined, emotions are detoured indeed, but also re-mediated. In every remediation, the content, even the emotional one, adapts itself according to the features of the arrival medium: in the case of GIFs, it gains the brevity, circularity and the being an object in its own right typical of the looped structure. Therefore, the emotional load, remediated by the medium ‘GIF’, achieves rarefaction, abstracting itself from the emotions of the originally previous and following frames, so becoming expressive on its own. Taking into account these transformations, that is to say the passage of the frames from being emotionally dependent from the original context to the completely independence, GIFs seems to negate the rule according to which, as stated by Debord and Wolman, «the main impact of a détournement is directly related to the conscious or semiconscious recollection of the original contexts of the elements». In fact, it is quite obvious that GIFs have an intense affective power even without this recollection. Then, GIFs are able to state a perfectly eligible emotion, independently from the images’ origin, recognisability and relevance. This is what makes GIF possibly definable as a para- or pseudo-linguistic element by itself.

As a new linguistic element, GIF exemplifies the vast set of possibilities which transform the consuming user into a productive one, able to create new meanings in a socio-cultural context founded on the operation of remix (Lessig). The same audivisual quality (Mittell) – both of movies and TV series – seems nowadays influenced by the possibility (or need) to re-use the original product, giving us the chance to examine a new paradigm that, in this conribution, we can define as GIF culture, or the tendency to evaluate the movie product by the quantity and quality of its possible re-use in other communication contexts.

Through the analysis of the possible uses of GIF online – which exemplifies the actual concept of post-truth, meant as re-definition of the priorities of authenticity and veracity –, the contribution to this book aims to identify also the motions and the peculiar linguistic and communicative properties of this relatively new object, mostly collecting cases within specific social network platforms (Twitter, Facebook).

The process of decontextualization, followed by the appropriation of a fragment with the possible purpose of giving it a new meaning, implies three different problems:
    • Authenticity and copyright questions, connected to the use of owned material or creative products that are characterized by having a specific purpose in a different context; a fact which leads back to the concept of remix, as it was proposed by Lawrence Lessig, and to a new cultural paradigm in which the ownership of creative contents are always more considered, or perceived, as a public good (Pescatore). A condition which reminds the paradigmatic metaphor of piracy and the difficult possibility to define what is a pirate or a hacker in the contemporary social and economic landscape (Larsson, Svensson, de Kaminski, Crisp, Lobato).
    • Authoriality which, similarly to the previous problem, is menaced by the remixed content. Who is the real author of a GIF once it is used for a different purpose by a user? What is its aesthetic value? How the reference to the original author can define the purpose in the use of the GIF in a communicative social network context?
    • Post-truth and loss of creative original contents, that are now scattered in communicative online waves, becoming always less detectable as original, owned and true since they are not used anymore for the purposes they were created for. The informational part of the message is lost in favor of emotional or impulsive scopes.

The chapter will focus on the analysis of GIF, in a first moment as a singular element, developping a real description of the element in all of its characteristics: brevity, loop, composition, derivations, creation – with a specific focus on the platforms and services supplied for the extrapolation of frames or for the conversion of other file formats into GIF.
In a second moment the focus will be more specifically the capability of this element to refer to other texts, summarily identifiable in the cinema production, television programming and series, amateur footage, online reachable contents and works of art or with aesthetic aim. All of these sources operate in the long term, defining the possible purpose in the use of the GIF element.
The third part will focus on the communication aspect; GIF can actually be seen as a cross-tool:
    • an artistic format,
    • an informational or educational tool,
    • a communication or linguistic element.
Basing the discussion on the possible reference to the deriving text, GIF can also be considered and defined as
    • quoting GIF, if the message which is delivered through this element is directly referred to the original audiovisual text;
    • sensation, or reaction (Huber), or even détourning (Debord) GIF, if it derives from a process of de-authorialization and de-contextualization of the content from the original context. The fragment is actually stolen from the text with the aim of re-using it, giving it a new significance (re-semantization) with a communicative purpose of emotions or meanings;
    • cit-action (Dagostino) or community GIF, as soos as the re-semantization of the fragment brings to the individual and not expected recognition, by the interlocutors, of the original text or context, bringing to the possible creation of a community of intents, made of people who recognize themselves following the shared knowledge of the referred text or context.

Through this description of the GIF element and of its use in a communicative online context, the chapter will try to clarify, through a common social network practice, some of the most weighty questions of the contemporaneity, founding in this simple communicative element e point of intersection of different sets of social, politics and economic problems. GIF culture appears as the behavioral crossroad of contemporaneity, both in terms of re-use of creative contents and of demysification of current facts.

The paper highlights the key features of Mendeley reference management software. Mendeley is reference manager/citation management software that helps to manage your research data in systematic way. The papers discuss how a Mendeley can help to the researchers, users and academician. And also discuss the features and limitation of Mendeley software.

Журнал Вестник Санкт-Петербургского университета. Искусствоведение (2018, т.8, вып.4, с.693-714, Е. П. Петрашень, В. С. Сперанская, А. О. Кузьмина) на с.713
цитирует статью ученых МГУ.

Цитирование статьи:
Krivitskii, Sergei, and Sergei Ostroumov. “Ekobioinzheneriia: ekologicheskaia reabilitatsiia vodoemov”.
Ecological Studies, Hazards, Solutions, vol. 11 (2006).  http://textarchive.ru/c-2717132-pall.html. (In Russian). Кривицкий С.В., Остроумов С.А. ЭКОБИОИНЖЕНЕРИЯ: СОЗДАНИЕ (ВОССТАНОВЛЕНИЕ) И ПОДДЕРЖАНИЕ ВОДНЫХ ЭКОСИСТЕМ С ЗАДАННЫМИ ПАРАМЕТРАМИ // Ecological Studies, Hazards, Solutions, 2006, Vol. 11, c. 55-60. https://5bio5.blogspot.com/2018/12/2006.html
**
Публикация МГУ процитирована в статье:
Петрашень, Евгения, Варвара Сперанская, и Арина Кузьмина. “Деструктивные ландшафты в контексте городского общественного пространства. Проблемы реабилитации, адаптации и интеграции”. Вестник Санкт-Петербургского университета. Искусствоведение, т. 8, no. 4 (2018): 693–714. https://doi.org/10.21638/spbu15.2018.410;https://www.academia.edu/40463129/;

Ecuador.Citation.2016.December)ecosistema; Ecuador cited book of A.Yablokov, S.Ostroumov, Conservation of living nature, in Spanish;
The cited book: Spanish edition, book. A.V. Yablokov, S.A. Ostroumov. Conservación de la naturaleza viva : problemas y perspectivas; Moscu: Vneshtorgizdat, 1989; 237 p. In Spanish. https://www.researchgate.net/publication/330842027 ; (translated from Russian into Spanish by E.P. Simonov).
https://www.academia.edu/40409660/;

Citation of the article: [PDF] Polyfunctional role of biodiversity in processes leading to water purification: current conceptualizations and concluding remarks.
SA Ostroumov - Hydrobiologia, 2002 — academia.edu.  Full text: https://www.academia.edu/download/27061090/2627327-Ostroumov-Polyfunctional-role-of-biodiversity-in-processes-leading-to-water-purification-current-conceptualizations-and-concludi.pdf;
It was cited in these papers (according to Google Scholar) published by researchers from U.S., Russia, France, Italy, Spain, Greece, Germany, China, Algeria, Egypt, Ukraine, Moldova, Indonesia, Burkina Faso (Africa), et al.:
https://www.academia.edu/48853437/ ;

Cet article étudie la place de la citation dans les films muets qui se sont approprié le récit évangélique. On se penchera d'abord sur les modalités de référence au texte biblique dans les intertitres, en analysant le statut énonciatif conféré aux diverses mentions par des phénomènes typographiques, linguistiques ou stylistiques. On considérera ensuite l'image pour découvrir qu'elle se nourrit de références d'ordre iconographique, et procède au niveau visuel d'un même jeu citationnel. Cette référence ostentatoire à un hypotexte canonique sera envisagée en termes d'ennoblissement moral et artistique, à une époque où le cinéma est seulement en phase d'institutionnalisation culturelle.

Marianna Villa

Ai margini del Cortegiano: la dedicatoria d'autore al Da Silva

La dedica autoriale al Da Silva, aggiunta solo in fase di stampa del Cortegiano, ha finito per costituire un “doppio sistema” di dediche, perché si è sovrapposta ai proemi dei quattro libri, già composti e indirizzati ad un altro dedicatario, nel frattempo morto, Alfonso Ariosto. Un’analisi specifica dal punto di vista dei topoi ricorrenti, delle strategie di dedica e delle sue funzioni permette invece di ritrovare una intenzionale complementarietà tra i due sistemi. Dal momento che nei proemi Castiglione si era già soffermato sulle figure di dedicatario e patroni e sulle motivazioni che presiedevano alla composizione dell’opera, e quindi aveva già impiegato la tradizionale topica della lode o della convenientia, ora, a ridosso della pubblicazione, sceglie una strada diversa, ritagliandosi uno spazio diretto di intervento, con la finalità di giustificare i ritardi e le difficoltà intercorse, e soprattutto di incentivare e promuovere la lettura, conferendo così all’epistola una funzione prefatorio-esegetica, assente nei proemi dei quattro libri.




The dedication to Da Silva, written by Castiglione between 1527 and 1528 while the Courtesan is published in Venice, forms a double system of dedications. It was superimposed on the preface of the four books, dedicated to Alfonso Ariosto, who had died in the meantime. This investigation about the strategies of the new dedication, its presentation, its functions shows the relationship between the two systems of dedications. In 1527 Castiglione justifies the difficulties around the printing process and he promotes the Courtesan to his readers, giving an esegetical function to his new dedication.

Il s’agit d’une analyse critique de la (sur-)abondance de citations alléguées par Guittone d’Arezzo pour consoler un ami ruiné, Monte Andrea. Dans un premier temps, l’article rassemble les principaux commentaires critiques déjà publiés sur cette lettre, et relève une tendance générale à porter un jugement négatif sur l’abondance des citations. Puis l’étude cherche à mieux situer ce genre de lettre dans le contexte culturel de l’époque : la typologie des lettres et des sermons du XIIIe siècle permet alors de proposer une appréciation plus juste de la lettre de Guittone. Enfin, une analyse rapprochée du contenu permet de mettre en relief l’importance et le rôle des citations d’Aristote. Il est ainsi possible de prouver que cette lettre s’inscrit dans un horizon d’attente bien présent à l’époque, et que son auteur a choisi un instrument tout à fait pertinent pour diffuser son nouveau magistère.

Si tratta di un’analisi critica della (sovr-)abbondanza di citazioni allegate da Guittone d’Arezzo per consolare un amico rovinato, Monte Andrea. In un primo tempo, l’articolo raduna i principali commenti critici già pubblicati su questa lettera rilevando la generale tendenza a dare un giudizio negativo sull’abbondanza delle citazioni. Poi lo studio cerca di situare meglio questo genere di lettera nel contesto culturale dell’epoca: la tipologia delle lettere e delle prediche del secolo XIII permette allora di proporre una valutazione più giusta della lettera di Guittone. Infine, un’analisi ravvicinata del contenuto permette di mettere in rilievo l’importanza e il ruolo delle citazioni di Aristotele. Diventa così possibile provare che questa lettera s’iscrive in un orizzonte d’attesa ben presente all’epoca, e che il suo autore ha scelto uno strumento del tutto pertinente per diffondere il suo nuovo magistero.
http://arzana.revues.org/543

Turn a journal into an autonomous object of study requires not just an in-depth analysis of each case, but also a reflection of the categories that are used to study them. It underlines the importance of distinguishing the specific records of cultural magazines, which must be understood by their own characteristics. Without this theoretical-methodological dimension, it is not posible to overcome the limits of the case studies. For this reason, this text reflects on the way in which different disciplines have studied citations in periodicals (bibliometrics, semiotics, literature and history). To make this problematic, we differentiate from the beginning, the appointment as an action taken by an author to refer to a work from which an idea or a piece of information is taken, to that of the referent as a subject that is indirectly incorporated into a journal for legitimation. Later, we make a proposal for the analysis of these references as part of the intellectual network that gives life to a cultural magazine. For this reason, more than definitive findings, the conclusions aim to synthesize these reflections and, in turn, propose new questions to continue thinking about the dilemma that the practice of the quotation implies as a way to delve into the strategies, meanings and links of the person who enunciates and of the publication that agrees to publish them.