Tomkiewicz has published several works relating to climate change, and co- authored an article relating to plagiarism in academia.DeLuca, G. and M. Tomkiewicz. "Personalizing the Anti-plagiarism Campaign." Plagiary 9.1.
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Jiří Mádl (born October 23, 1986 in České Budějovice, Czechoslovakia) is a Czech film actor, director and screenwriter. Among his most prominent roles are a part in the 2008 film Night Owls, for which received the Best Actor award at the 2008 Karlovy Vary International Film Festival. Jiří Mádl participated in creating a plagiary of Sarah Silverman's election commercial in 2010. However, people claimed that the plagiary is based on antigerontism not present in the original commercial.
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The Favian law (lex Fabi) made the purchase, sale, donation, or acceptance of a freeman, if done wittingly, a capital crime; and the pecuniary penalty provided by that law having fallen out of practice, those guilty of "plagiary", or man-stealing (which appears to have been a common offence, both as regarded slaves and freemen) were condemned to the mines for the delictum, a fine of twenty aurei, amputation of the hand, etc. The Salic law provided that nobles guilty of plagiary should be scourged and imprisoned, slaves and liberti exposed to the beasts, and freemen decapitated.
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Schmidt had defended zu Guttenberg against the accusations of plagiary. Schmidt also played an instrumental role in the establishment and financing of the “Hardship Fund” (Härtefall-Stiftung). This fund, maintained by the Soldiers’ Relief Association e.V., was founded in 2012 with the express remit of supporting soldiers seriously injured in the line of duty.
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On 12 March 1816 Guy Mannering, a musical adaptation by Terry of Scott's novel, was seen for the first time. This appears to have been the first of Terry's adaptations from Scott. At the Haymarket he was seen as Periwinkle in A Bold Stroke for a Wife.Also Hardcastle, Hotspur, Sir George Thunder, Sir Pertinax McSycophant, Sir Fretful Plagiary, Eustace de Saint-Pierre, Lord Scratch in the Dramatist, and other parts.
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Sheridan later mocked Cumberland's sensitivity to criticism by modelling the character Sir Fretful Plagiary, in his 1779 play The Critic, after him. Baines, Ferraro & Rogers p.87 The original Drury Lane cast included Robert Bensley as Harold, John Henderson as Edgar Atheling, John Palmer as Earl Edwin, William Brereton as Prince Waltheof, Francis Aickin as Earl of Northumberland, Richard Hurst as Raymond, Elizabeth Younge as Matilda and Mary Ann Yates as Edwina.
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Ricardo and Malthus debated this in a lengthy personal correspondence.David Ricardo, The Works and Correspondence of David Ricardo, ed. Piero Sraffa with the Collaboration of M. H. Dobb (Indianapolis: Liberty Fund, 2005), 11 vols. Another one of the 19th century critics of Malthusian theory was Karl Marx who referred to it as "nothing more than a schoolboyish, superficial plagiary of De Foe, Sir James Steuart, Townsend, Franklin, Wallace" (in Capital, see Marx's footnote on Malthus from Capital – reference below).
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Parsons played legal roles later in his career such as playing an attorney in Divorce, and a Justice in both Love in a Village and in A New Way to pay Old Debts. Around this time, Parsons played Bale in Fair American. Sheridan double bill at Drury Lane, 1785: Parsons as Crabtree in The School for Scandal and Sir Fretful Plagiary in The Critic Parsons moved on and appeared in The Good-Natur'd Man as Twitch. Other plays that Parsons appeared in during this time included The Clandestine Marriage, Measure for Measure and Variety.
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Most of these roles featured Parsons playing lowly characters. During the last years of his life, Parsons refused to quit acting, appearing in Poor Old Drury as Cobb and in Fugitives as Old Manly, the latter in August 1792. His last roles at the Haymarket Theatre occurred in June 1792 where he played Toby Thatch in London Hermit and as Lope Tocho in Mountaineers (which also was Parson's last original part). After Parsons appeared in the Confederacy as Moneytrap, he played his last role: Sir Fretful Plagiary in The Critic.
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On 23 January 2006, the National Fatwa Council, Malaysia's highest Islamic authority, banned Muslims from taking part in the activities associated with Black Metal music. Datuk Mustafa Abdul Rahman, the director-general of the Islamic Development Department, told a press conference on 27 January 2006, that Black Metal often led its followers to worship Satan, rebel, kill, and incite hatred. Nevertheless, the government favored counseling rather than a ban upon the musical genre. On or about 23 May 2002, a French missionary was arrested on blasphemy charges after distributing a pamphlet about Quranic plagiary.
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It is the most reproduced and famous, not because, according to Olivelle, it is the oldest or because of its excellence, but because it was the lucky version found first. The Kullūka commentary dated to be sometime between the 13th to 15th century, adds Olivelle, is mostly a plagiary of Govindaraja commentary from about the 11th century, but with Kullūka's criticism of Govindaraja.Patrick Olivelle (2005), Manu's Code of Law, Oxford University Press, , pages 367-369 Nārāyana's commentary, titled Manvarthavivrtti, is probably from the 14th century and little is known about the author. This commentary includes many variant readings, and Olivelle found it useful in preparing a critical edition of the Manusmriti text in 2005.
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While Parsons's rivals possessed singing talent that eluded him, Parsons relied on his mental talents as seen in his role in Peeping Tom and his exclaiming abilities as seen in Volpone (one of his most notable roles), The Confederacy and The Village Lawyer to get ahead. Parsons's niche was playing elderly men like Whittle in Irish Widow, and Colonel Oldboy in Lionel and Clarissa or playing country clowns like Scrub in The Stratagem. In 1812, the author of Biographia Dramatica, called Parsons "a comic actor of superlative merit", and added, "In the conception and execution of such characters as Foresight, in Love for Love; Corbaccio in Volpone; Sir Fretful Plagiary in The Critic, &c.; we never expect to see his equal".
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Meanwhile, he was making his mark as a musician: in 1835 Thomas Attwood wrote to Mendelssohn, "We have recently had a new establishment here which is called 'The Society of British Musicians', in the hope of bringing forward native talent... I, however, wish you would look at your cloak, or great-coat, lest you should have had a bit cut out of it: for there is a young man of the name of Hatton, who seems to have got a little bit of it, indeed he seems to assimilate to your style without plagiary more than anyone I have met with."Letter of 9 February 1835, quoted in Musical Times, cited in Harold Simpson, A Century of Ballads, 1810–1910, Their Composers and Singers, (Mills and Boon, London c.1911), pp. 127–28.
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