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更新时间:2023-05-19 01:39:41 阅读：评论：0

What’ s wrong with copying?

----Charges of plagiarism are flying in the world of books. Where does borrowing end

and theft begin? Though disputed, there is a difference.

小提琴姿势

Every one knows the feeling. In a timely flash, the perfect quip forms in the

mind and rolls onto the tongue. You deliver it to the table, and wait for the gasps or

guffaws. In the silence that follows a dry violence says instead,

” Yes I read it too.

Authors have to wait longer to find out that their words are not theirs alon

e. But

”

unconscious borrowing社团招新新闻稿

” , as critics call such silent plunder

, is common among writers,

even the best of them. Perhaps becau night-foraging by the imagination is so vital

to literature, good writers react warily when, as now,

chargers of plagiarism fly.

Though

naturally

朋友用英语怎么说eager

to protect

their

own

published

words,

and

not

above

malicious smile or two when others get caught, most authors recognize that this is

boggy ground. Between imitation and theft, between borrowing and plagiarism, lies

a wide, murky borderland.

Since proving plagiarism is hard, legal redress is normally an expensive dream.

The most that aggrieved authors can catch on is to shame the wrongdoer

. But sham

means attention, and attention brings sales. Recently, Ben Okri, a Nigerian-born

novelist, claimed that Calixthe Beyala, a French one, lifted whole chunks of his 1991

Booker-winning novel, for her bestllers. Plagiarism means copying delicately the

exact words. His were English, hers French. Showing that a plundered book is not

the only source is also a defen. On the advice of lawyers, he has dropped his ca

against her , and in effect the affair has died.

The personal vendetta carries different risks, as Neal Bowers, a wronged poet

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and teacher at Iowa State University, recounts in words for the taking: The Hunt for

the plagiarist. One day, Mr

. Bowers got a fax from California of a page from a poetry

magazine containing, under the name of David Jones, a slightly altered version of a

poem he had written for his dead father

. Wor, he learned, had plagiarized other

poets.

Some

editors

sympathized;

others

did

not bother

even

respond.

Mr .

Bowers became, on his own admission, obsd. He lost friends. But in the end he

found the plagiarist, through a lawyer

, only to be offered $100 in compensation, and

a whining apology.

and

lf-defen

are

not

the

only

protection

for

authors.

Humble

readers are among their best police. The border between theft and borrowing is also

vigilantly patrolled by scholars. John Frow, a university professor in Australia, has

charged Graham Swift with pillaging William Faulkner

. According to Mr

. Frow ,

Last

Orders

, which won Mr

. Swift last year

’ s Booker prize , takes liberally from the theme

and the fictional devices of As I Lay Dying .Its topic

— how people dispo of the

dead — is the same . Faulkner

’ s book has a one-ntence chapter

, a chapter with

itemized points and different speaking voices in different chapters. So do

Last

Orders.

That is not plagiarism, Mr

. Frow argues, but

“ imitation

. Swift” . Mr’ s fault, he

suggests, is not to have made an explicit nod to the grand old man from Oxford,

Mississippi.

But

there

speaks

professor虾仁豆腐羹

Novelists

are

not

bound

rules

doctoral

quotation. The charge by Richard pipes that Orlando Figes pinched finding of his

without

due

mention

has

provoked

quarrel

between

the

two

well —known

historians of Russia. But theirs is not a row-over literary plagiarism .The allusion of

novelists and poets are different from academic citations. When T

.S. Eliot and Ezra

Pound freighted their ver with learned listings from across the planet, they called

“ collage

” . Eliot did at times give sources but was laughed at for pretentiousness.

In his Cantos, Pound ldom bothered to mention who fusty trunk he was happily

ransacking.

Where, then, do honest allusion, which authors want readers to catch, stop

and sly thievery begin? Samuel Fuller

, an American film director

, put it well when he

said

admiring

French

new- wave

film

makers,

“ They steal from

and

call

homage. ” Questions of imitation, unflagged quotation and borrowing, unconscious

or not, lead straight to the middle of the middle of the boy. Between mortal pedantry

and wet indulgence, is there safe ground?

Intention has a lot to with it. Poets, especially, are prone to unwitting copying

java项目经验

since

ver

has

mnemonic

properties

that

pro

does

not

posss.

Thom

Gunn,

reading

poems

his

London

two

years

ago:

“ my greatest

fear

that I will

discover

or ,

wor,

that

someone

will

point

out

me---that

I have

stolen

another man

’ s words, thinking them my own.

Plagiarists, like forgers, have guilty intent, but of interestingly different kinds.

infamous

early

20-century

faker

such

Hans

van

Meegeren

wanted

his

paintings taken for Vermeer

’ s. A plagiarist, by co ntrast, tries to pass off another

writer

’words

his

own.

Forgers

sin

against

authenticity,

plagiarists

against

originality.

There are copying traditions in which originality and its cousin, diversity, are not

only

not

celebrated

but

positively

frowned

on. Sacred

literature,

with

its

frozen,

canonical texts, is an obvious example. But originality and variety have always been

prized in western writing, burden that they are on authors. Copyright laws date from

the

spread

the

printed

book

the

16 th

century. But

interest

authorship

ancient. All writers hate Homer

, becau Homer said everything first. Martial, a Latin

poet and lewd gag-writer

, likened his words to slaves, and an author who had stolen

them to a plagiarist, or abductor

. Varro, a schol

ar and friend of Cicero

’ s, stripped the

number of plays by Plautus from 130 to less than two dozen.

Most readers want a personal voice, hopefully one that belongs to someone who

has read, thought and imagined a lot. People are maybe more knowing nowadays

a bout how certain

“ personal voices

” come into being. Authors have editors; they

have co-authors and ghost-writers, not to mention models and literary godparents

to borrow from. But the idea

— or idea –of poems and novels as unique, personal

creations is still esntial.

not

hard

imagine

two

extreme

sorts

writing

where

literary

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