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Copyright FAQ

In the article I submitted for review, I’m using photographs from a website.  Can I include those photos in my article for publication?

Global Impressions strongly encourages authors to use their own work, and avoid using work that others have created (a.k.a., “third party material”).  However, if you decide to include third-party material (e.g., images, tables, charts, film clips, audio clips), you must get permission from the copyright holder of that material, to reproduce it in your own work.  If the material you’re using is not subject to copyright restrictions (e.g., in the public domain) you should follow best practice and identify the photograph’s source.  If you’re unsure who owns the copyright, we recommend that you contact the library (see below) before submitting your work.

What does “open access” mean?

Global Impressions is an open access journal, which means that all content is freely available without charge to the user or his/her institution. Users are allowed to read, print, search, email, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author.  Authors  retain copyright to their work.

If my article gets published, will I own the copyright to my own work?  If so, what does “non-exclusive publication” mean?

Yes, as the author, you own the copyright to your own work, which means–among other things–that as the creator, you have the legal right to print, publish, perform, or do whatever you wish with what you create.  “Non-exclusive publication” means that because you are the copyright holder, you can go on to do whatever you choose to do with your work:  revise it, adapt it, post it on your blog, re-publish it in another format, etc.  (Note:  if you do go on to re-publish your work elsewhere, just be sure to note that you originally published it in Global Impressions).

What is a Creative Commons Attribution 4.0 license, and how does this affect my copyright of my own work?

If your work is accepted for publication in Global Impressions, the journal will make your work available via a Creative Commons Attribution 4.0 licence.  This means that anyone who wants to cite, quote from, build upon, copy, email, or link to your work can do so, as long as they attribute you as the author of the work.  You retain copyright of your work.  The reason Global Impressions uses this particular license is to allow for the broadest scholarly dissemination of your work, while still allowing you to retain your rights as an author.

This FAQ was developed by Smith College Libraries and Smith College IT Educational Technology Services. Questions should be addressed to Elisa Lanzi, Director of Digital Strategies and Services, Smith College Libraries, 7 Neilson Drive, Northampton, MA 01063 elanzi@smith.edu.

Copyright Notice

Authors who publish with the Global Impressions online journal agree to the following terms:

  1. The Author retains copyright in the Work, where the term “Work” shall include all digital objects that may result in subsequent electronic publication or distribution.
  2. Upon acceptance of the Work, the author shall grant to the Publisher the right of first publication of the Work.
  3. The Author shall grant to the Publisher [Smith College, Lewis Global Studies Center] and its agents the nonexclusive perpetual right and license to publish, archive, and make accessible the Work in whole or in part in all forms of media now or hereafter known under a Creative Commons Attribution 4.0 License or its equivalent, which, for the avoidance of doubt, allows others to copy, distribute, and transmit the Work under the following conditions:
    a.  Attribution—other users must attribute the Work in the manner specified by the author as indicated on the journal Web site; with the understanding that the above condition can be waived with permission from the Author and that where the Work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
  1. The Author is able to enter into separate, additional contractual arrangements for the nonexclusive distribution of the journal’s published version of the Work (e.g., post it to an institutional repository or publish it in a book), as long as there is provided in the document an acknowledgement of its initial publication in this journal.
  2. Upon Publisher’s request, the Author agrees to furnish promptly to Publisher, written evidence of the permissions, licenses, and consents for use of third-party material included within the Work, except as determined by Publisher to be covered by the principles of Fair Use. For information about Fair Use, see http://www.smith.edu/libraries/services/faculty/copyright#principles
  3. The Author represents and warrants that:
    1. the Work is the Author’s original work and/or the Author has obtained appropriate permissions;
    2. the Author has not transferred, and will not transfer, exclusive rights in the Work to any third party;
    3. the Work is not pending review or under consideration by another publisher;
    4. the Work has not previously been published;
    5. the Work contains no misrepresentation or infringement of the Work or property of other authors or third parties; and
    6. the Work contains no libel, invasion of privacy,  slanderous, defamatory or other unlawful matter.
  4. Each party shall indemnify and hold the other harmless for any losses, claims, damages, awards, penalties, or injuries incurred, including reasonable attorney’s fees, which arise from any alleged breach of such indemnifying party’s representations and warranties made under this Agreement, provided that the indemnifying party is promptly notified of any such claims.  The indemnifying party shall have the right to defend such claims at its own expense.  The other party shall provide assistance in investigating and defending such claims as the indemnifying party may reasonably request and have the right to participate in the defense at its own expense.

The content of this copyright notice was developed in consultation with the Smith College Libraries and Smith College IT Educational Technology Services. Questions about this notice should be addressed to Elisa Lanzi, Director of Digital Strategies and Services, Smith College Libraries, 7 Neilson Drive, Northampton, MA 01063 elanzi@smith.edu

Editorial Board

Greg White,  Elizabeth Mugar Eveillard 1969 Faculty Director of the Lewis Global Studies Center
Managing Editor and Publicity:  Laura Gomez
Student Editors: Emma Davis ’25 and Merisa Skinner AC
Technical Assistants
:  Travis Grandy

We welcome new student members to our Editorial Board.  This is a great opportunity to gain experience in the peer review process, website construction, and journal management. If you are interested in being considered as an editorial team member please contact us through globalimpressions@smith.edu

 

In This Issue…

We are currently editing submissions for our inaugural issue, to be published in Spring 2014.  This issue will showcase submissions to the Lewis Global Studies Center International Photo Contest from fall 2013.  Students have been invited to write a 500-700 word essay to supplement their photographic submissions.  We are especially interested in thoughts on how the photo highlights an intercultural encounter and demonstrates what students learned from this encounter.  

Smith students and alumnae are welcome to submit to future issues of Global Impressions, which will be structured around themes rather than the photo contest.  More information will be posted later in spring 2014.

Submissions – Issue 1

Global Impressions publishes short reflective essays (500-750 words) by members of the Smith College community that address what it means to be a global citizen today.

We are currently accepting submissions for our second issue: “Adapting.”

a·dapt

[uh-dapt]

verb (used with object)

1. to make suitable to requirements or conditions; adjust or modify fittingly: They adapted
themselves to the change quickly. He adapted the novel for movies.

verb (used without object)

2. to adjust oneself to different conditions, environment, etc.: to adapt easily to all
circumstances.

Origin: 
1605–15;  < Latin adaptāre  to fit, adjust, perhaps via French adapter.  See ad-, apt

 

We want to know how living abroad has changed you. How have you modified your way of thinking, outlook on the world, modes of self-expression, habits, appearance, preferences, etc.? What experience challenged your beliefs the most? What are the benefits and drawbacks to adapting to a foreign culture?

 Submissions will be accepted through September 19, 2014.

For submission guidelines, please click here.

The Funeral Next Door

You would be right in thinking that this is a photo of a party. In the U.S. however, we usually do not throw parties for this reason. Taking a closer look at this image, you might notice the particular blessings imprinted on the women’s kangas, or their colorful printed pieces of cotton fabric that communicate different Kiswahili messages. At this type of gatherings kangas say things like, kuishi kwingi ni kuona mengi (to live long is to see much), or penye wengi pana Mungu (where there are many people, there is God).

As I sat in my host family’s apartment in Dar es Salaam, Tanzania with its permanently wide-open windows, which welcomed many birds, it took me a while to realize that this was not your typical party. This was not the sort of party for celebrating the coming of a new year, a holiday, or a birthday. This was a party for celebrating life, or rather, to honor the leaving of one. This was a funeral. The man who died had been a doctor at the university hospital and had the right side of his face paralyzed, and he would clearly be missed. From all the singing and guitar-playing below, it later sounded like a big celebration of this man’s life. I could hear every word of the funeral going on four stories below. Funerals are clearly important social occasions here. It had all of the elements of a huge block party: people who knew the doctor or his family just stopped by and pulled up a chair or took a seat in the lawn for however long they wanted to. Here your neighbors are your family. Emmanuel, my host brother, told me that this funeral had been going on for one week—so far.

I do not mean to imply that mourning was not taking place alongside the merriment. The night before, when the body arrived from Ghana, we heard loud cries coming from the apartment across the lawn. Dozens of people were gathered in the parking garage below their apartment, and we heard wailing for hours. In the morning we awoke to about a hundred lawn chairs spread out in the lawn around the garage. There were cars parked up and down the street and hundreds of people surrounding a big stage that was also set up in the garage where there were speeches being delivered.

A distinct feature of Tanzanian funerals that sets them apart from any funeral that I had ever attended is that the focus seemed to be on everyone coming together to celebrate the goodness of having a life more than the sorrow of losing one. My dad led a study abroad trip to Ghana when I was younger, and I remember him saying that funerals there consisted of giant parades of people singing and dancing down the street, coffin in tow overhead. I wonder what it is about American culture that leads us to have a more solemn and depressing approach to recognizing the end of one’s life. Whenever I get the opportunity to visit different countries, I generally try to resist the temptation of feeling inferior and valuing others’ cultural practices over my own. I have to say though, this one seems pretty logical and meaningful and desirable to me. This block party is exactly how I would want my funeral to be.

 

Photo © Katie Paulson-Smith. All rights reserved.

Laura Itzkowitz headshot 2 by Melissa Itzkowitz

As a Global STRIDE (Student Research in Departments) Scholar, Katie Paulson-Smith studied Kiswahili in Tanzania after her first year.  She next studied French and went to Geneva during her junior year, and has since been working in the Lewis Global Studies Center and helping to launch Global Impressions. Katie is eager to apply these international experiences and her African Studies background to fieldwork in East Africa next year.

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