As before, each of those paragraphs was plucked from the web and rephrased into something less plagiaristic by the site's algorithm.
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"Lots of people online have talked about plagiarism, but it seems from the legal side that the matter is quite clear — at root there is no plagiaristic behavior," he said.
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"Lots of people online have talked about plagiarism, but it seems from the legal side that the matter is quite clear - at root there is no plagiaristic behavior," he said.
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Not in a plagiaristic way, but just literally copying the feel of something and understanding where that comes from, and why certain chord progressions make you feel this way and others make you feel another way.
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The failure of Save Me the Waltz, and Scott's scathing criticism of her for having written it—he called her "plagiaristic" and a "third-rate writer"—crushed her spirits. It was the only novel she ever saw published.
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Francisco Pérez was a Spanish priest and mathematician, whose work Tri- lichanon goni-arith-metron, describing a goniometer (instrument for measurement of angles), was published in 1781. He later published a letter complaining about the "plagiaristic usurpation" of this invention by one Eliseo della Concezione.
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Fitzgerald was extremely protective of his "material" (i.e., their life together). In 1932, she wrote and sent to Scribner's her own fictional version of their lives in Europe, Save Me the Waltz (1932). Infuriated by what he saw as theft of his source material, Fitzgerald labelled her "plagiaristic" and a "third-rate writer".
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The reviews were mixed. After its initial airing a New York Times follow-up article revealed that Frank Capra, the director of the 1946 film It's A Wonderful Life, had denounced the remake as "plagiaristic." The ratings, however, were good enough that it was rebroadcast on ABC twice, in 1978 and 1979. But by that time the original It's A Wonderful Life had begun its resurgence on television and eventually eclipsed the remake.
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Advocates for Livingston's authorship argue that Moore "tried at first to disavow" the poem. They also posit that Moore falsely claimed to have translated a book. Document dealer and historian Seth Kaller has challenged both claims. Kaller examined the book in question, A Complete Treatise on Merinos and Other Sheep, as well as many letters signed by Moore, and found that the "signature" was not penned by Moore, and thus provides no evidence that Moore made any plagiaristic claim.
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Wilks was the son of Matthew Wilks, minister of the Whitefield's Tabernacle, Moorfields. He was for many years the vestry clerk and chief manager of the parochial affairs of St Luke's Old Street. He became secretary of the Protestant Society for the protection of religious liberty when it was formed in 1811. In 1830, Wilks was elected Member of Parliament (MP) for Boston with the plagiaristic (it originated with John Wilkes (17 October 1725 – 26 December 1797)) battle-cry of his supporters of "Wilks and Liberty".
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"The Uses of Representation: Making Some Distinctions," Flash Art, March/April 1979, p. 37–9. in the face of what he termed "a growing lack of faith in the ability of artists to continue as anything more than plagiaristic stylists." In "Last Exit: Painting" (1981), Lawson championed appropriationist painting as "the perfect camouflage" (due to its very unlikeliness) to infiltrate the art-world and expose stereotypes and conventions, maintaining that the work's hand-made subjectivity and expressive tools tempered its ironic and detached tone.Lawson, Thomas.
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In 1961, Dashwood published Provincial Daughter, a light-hearted continuation of her mother's most famous work. Stylistically similar to Diary of a Provincial Lady, it is a semi-autobiographical account of domestic life in the 1950s. In the foreword, Dashwood wrote: > It seemed natural to write it in the same idiom, but if the result seems to > any reader too imitative, or even plagiaristic, I can only ask their > forgiveness, as the original Provincial Lady would, I am sure, most warmly > have given hers. The novel was a success and was re-issued in 2002 by Virago Press.
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When this failed, The JAMs made a bonfire in the Swedish countryside and burnt the LPs. Back in the UK, they continued with their plagiaristic productions, which culminated with a second LP, Who Killed The JAMs?. Its sleeve depicts the 1987 bonfire, and it contains "Burn the Bastards", a sample-heavy celebration of the fire set to house music. Ritualistic burnings became a recurring aspect of Drummond and Cauty's work, including the burning of a 60-ft (18-m) wicker man during the 1991 summer solstice (The Rites of Mu), and, as the K Foundation in 1995, their burning of £1 million.
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In a 1751 edition of in The Rambler, critic Samuel Johnson called attention to a direct example of Pope's plagiaristic borrowing from Crashaw:Samuel Johnson, "The Criterions of Plagiarism", The Rambler No. 143, 30 July 1751; in The Works of Samuel Johnson in Sixteen Volumes (Troy, NY: Pafraets, 1903), 3:198. Crashaw's verse: : —This plain floor, : Believe me, reader, can say more : Than many a braver marble can, : Here lies a truly honest manRichard Crashaw, "Epitaph upon Mr. Ashton, a Conformable Citizen", in The English Poems of Richard Crashaw, edited by Edward Hutton (London: Methuen & Co., 1901), 177. Pope's plagiarized verse: : This modest stone, what few vain marbles can, : May truly say, Here lies an honest man.
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Shamanism has become a significant component of Mayanism, in part due to the scholarly interpretation of ancient Maya rulers as shamans and the popularity of Carlos Castaneda, whose books described his apprenticeship to a Yaqui sorcerer. However, Castaneda's work is seen as being fictional, inaccurate, misleading, and plagiaristic, and there is substantial evidence to support the interpretation that both "Carlos" (a character in Castaneda's books) and don Juan (the sorcerer) are fictional creations. Although the Yaqui are indigenous to the Sonoran Desert region of northern Mexico and southern Arizona, far from the Maya region, Mayanism often conflates the concept of Toltec (Castaneda) with the Toltec who interacted with the ancient Maya. This stems from 19th century speculations by Brasseur and Charnay about the Toltecs as a white, Aryan race that brought advanced civilization to the Americas either through a migration from Asia across the Bering Strait (according to Charnay) or emigration from the lost continent of Atlantis (according to Brasseur).
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