21 AFTERWORD

After reading this collection of important and impressively diverse exami-nations of copyright and intellectual property issues in writing studies, compo-sition pedagogy, and academia in general, I have refined my position on some matters and reaffirmed my position on others. My idea of plagiarism, to start, is more nuanced than ever; I now understand more fully that “not cited ” does not necessarily mean “plagiarized. ” Composition scholars studying plagiarism have argued that instances of “not cited but not plagiarized ” are possible, especially in the writing of students from cultures with different ideas about intellectual property. But in this collection, Hall and Vincelette examine parody, noting that parody works through allusion, and that a parody will not be successful if the audience does not catch the references. This is to say that the audience must distinguish the original—the parts that are not “the author’s own work”—in parody, and recognize that the author is not passing the source material off as his or her own. Moreover, citation is redundant because the audience already knows where the work came from. Johnson-Farris, too, presents a useful “not cited but not plagiarized ” ex-ample when she relays an anecdote of a student presentation, a slide from which featured a photograph of former president Bill Clinton. The photograph was not cited, but it would have been utterly unreasonable for the instructor to infer that the students had been close enough to Clinton to snap the photo-graph themselves, when they were likely children to boot: The students gave the presentation in 2005, and the photograph was from the Monica Lewinsky scandal in 1998. Certainly the majority of writing teachers, and almost every writing program administrator, would agree that these students did not cite but did not plagiarize. This is an easy example, but it—and others throughout this collection—help me to see that even in the citation-obsessed context of academic writing, sources sometimes do not need to be cited, and also that, for the audience, sometimes it does not matter where the source material came from or who authored it