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Poetry. "I had a suspicion about this work. I mistrust all frank and simple poetry. This book makes me feel like my trust was wasted. I finally had somebody verify the story. I thought it was accidental. I lost the disgusted feeling and was happy. This book makes me feel like I end up with nothing, but somehow it makes me feel better. I rather liked it. The soft, brushed covering is removable and easy to clean. Adjustable strap holds poems in desired position. New bolder and larger print is easier to see and read. Casing made of 50% post-consumer content. PMA certified nontoxic. Featuring an outstanding one-of-a-kind circle design, this eye-catching creation is certain to become a topic of conversation"--Charles Bernstein.
Arthur Prentice, the son of an aging, alcoholic, much-celebrated American author, embarks on a career with a prestigious magazine and finds himself undertaking an emotional journey that transforms every facet of his life. "An ingenious first novel".--Newsweek.
'"Originality" is only plagiarizing from a great many', remarked Rupert Brooke, stealing the line from Voltaire. Questions of originality, and accusations of plagiarism, are as old as literature, but different literary cultures have interpreted the relationship between originality and plagiarism in startlingly dissimilar ways.Original Copy investigates and documents the drastic reappraisal of literary originality and plagiarism which occurred over the course of the nineteenth century: from the heroic visions of original authorship that characterised the 1820s and 1830s, through to the stickle-brick creativity of Oscar Wilde and Lionel Johnson at the century's end. It reveals how ideas of originality and plagiarism were not only a theoretical concern of Victorian commentators on literature, but also providedmany important Victorian writers - Eliot, Dickens, Reade, Pater, Wilde, and Lionel Johnson among them - with a creative resource. Moving between numerous different fields of thought and knowledge - literary criticism, the history of science, manuscript culture, anthropology - and written in a supple andelegant style, this book shows that the ideas of originality and plagiarism were the subjects of nineteenth-century literature, as well as what it was subject to.
What is conceptual writing, how does it differ from Conceptual Art, what are some of the dominant forms of conceptualism,where does an impure or hybrid conceptualism fit in, what about the baroque, what about the prosody of procedure, what are the links between appropriation and conceptual writing, how does conceptual writing rely on a new way of reading, a "thinkership" that can shift the focus away from the text and onto the concept, what is the relationship between conceptual writing and technology or information culture, and why has this tendency taken hold in the poetry community now? What follows, then, is a collection of notes, aphorisms, quotes and inquiries on conceptual writing. Notes on Conceptualisms is far from a definitive text, and much closer to a primer, a purposefully incomplete starting place, where readers, hopefully, can enter so as to participate in the shaping of these ideas. "For those not familiar with conceptualist practices in poetry, I can recommend few better places to start than Notes on Conceptualisms." --Thom Donovan for Bomblog
In Thomas Ligotti's first nonfiction outing, an examination of the meaning (or meaninglessness) of life through an insightful, unsparing argument that proves the greatest horrors are not the products of our imagination but instead are found in reality. "There is a signature motif discernible in both works of philosophical pessimism and supernatural horror. It may be stated thus: Behind the scenes of life lurks something pernicious that makes a nightmare of our world." His fiction is known to be some of the most terrifying in the genre of supernatural horror, but Thomas Ligotti's first nonfiction book may be even scarier. Drawing on philosophy, literature, neuroscience, and other fields of study, Ligotti takes the penetrating lens of his imagination and turns it on his audience, causing them to grapple with the brutal reality that they are living a meaningless nightmare, and anyone who feels otherwise is simply acting out an optimistic fallacy. At once a guidebook to pessimistic thought and a relentless critique of humanity's employment of self-deception to cope with the pervasive suffering of their existence, The Conspiracy against the Human Race may just convince readers that there is more than a measure of truth in the despairing yet unexpectedly liberating negativity that is widely considered a hallmark of Ligotti's work.
The gripping and definitive in-the-room account of the revolution that has swept the news industry over the last decade and reshaped our world. The last decade has seen the News industry face unprecedented change. The sometimes-century old institutions which were once the bastions of truth have had their dominance eroded by vast innovations in viral technology and, as millennial appetites force the industry to choose between principles of objectivity and impartiality, the survivors must confront the horrifying cost of their success: sexual scandal, fake news, the election of President Trump and the shaking of democracy. Taking us behind the scenes at four media titans - BuzzFeed, VICE, The New York Times and The Washington Post - Abramson reveals the human drama behind this shift: one involving deal-making tycoons, thrusting reporters, hard-bitten editors, egomaniacs, bullshitters, provocateurs and bullies, with some surfing and others drowning in the breaking wave of change. 'A cracking, essential read... Abramson knows where most of the bodies are buried and is prepared to draw the reader a detailed map' Guardian
This book examines Uncreative Writing—the catch-all term to describe Neo-Conceptualism, Flarf and related avant-garde movements in contemporary North American poetry—against a decade of controversy. David Kaufman analyzes texts by Kenneth Goldsmith, Vanessa Place, Robert Fitterman, Ara Shirinyan, Craig Dworkin, Dan Farrell and Katie Degentesh to demonstrate that Uncreative Writing is not a revolutionary break from lyric tradition as its proponents claim. Nor is it a racist, reactionary capitulation to neo-liberalism as its detractors argue. Rather, this monograph shows that Uncreative Writing’s real innovations and weaknesses become clearest when read in the context of the very lyric that it claims to have left behind.
"In addition to explaining his concept of uncreative writing, Goldsmith reads the work of writers who have engaged in 'uncreative writing'. Examining a wide rage of texts and techniques, including the use of Internet searches to create poetry, the appropriation of courtroom testimony, and the possibility of robo-poetics, Goldsmith joins this recent work to practices adopted by writers and artists such as Walter Benjamin, Gertrude Stein, James Joyce, and Andy Warhol. Yet, more than just a reconfiguration of texts, uncreative writing can also be suffused with emotion and offer new ways of thinking about identity, tha making of meaning, and the ethos of our time."--Publisher.
In This Is Not a Copy, Kaja Marczewska identifies a characteristic 'copy-paste' tendency in contemporary culture-a shift in attitude that allows reproduction and plagiarizing to become a norm in cultural production. This inclination can be observed in literature and non-literary forms of writing at an unprecedented level, as experiments with text redefine the nature of creativity. Responding to these transformations, Marczewska argues that we must radically rethink our conceptions of artistic practice and proposes a move away from the familiar categories of copying and originality, creativity and plagiarism in favour of the notion of iteration. Developing the new concept of the Iterative Turn, This Is Not a Copy identifies and theorizes the turn toward ubiquitous iteration as a condition of text-based creative practices as they emerge in response to contemporary technologies. Conceiving of writing as iterative invites us to address a set of new, critical questions about contemporary culture. Combining discussion of literature, experimental and electronic writing, mainstream and independent publishing with debates in 20th- and 21st-century art, contemporary media culture, transforming technologies and copyright laws, This Is Not a Copy offers a timely and urgently needed argument, introducing a unique new perspective on practices that permeate our contemporary culture.
This “amusing and elegantly written” romp takes readers on a wild ride through the life of Robert Parkin Peters (The New York Times Book Review)—a liar, bigamist, and fraudulent priest who tricked some of the brightest minds of his generation. One day in November 1958, the celebrated historian Hugh Trevor–Roper received a curious letter. It was an appeal for help, written on behalf of a student at Magdalen College, with the unlikely claim that he was being persecuted by the Bishop of Oxford. Curiosity piqued, Trevor–Roper agreed to a meeting. It was to be his first encounter with Robert Parkin Peters: plagiarist, bigamist, fraudulent priest, and imposter extraordinaire. The Professor and the Parson is a witty and charming portrait of eccentricity, extraordinary narcissism, and a life as wild and unlikely as any in fiction. Motivated not by money but by a desire for prestige, Peters lied, stole, and cheated his way to academic positions and religious posts from Cambridge to New York. Frequently deported, and even more frequently discovered, he left a trail of destruction including seven marriages (three of which were bigamous) and an investigation by the FBI. "I was captivated from start to finish by this utterly mad, and wholly delightful story of chicanery and fantasy, and which involves a man who relentlessly duped our most cherished institutions of godly pursuit and higher learning. Plus I learned how to defrock a priest, always good to have on hand in these troubling times." —Simon Winchester, author of The Perfectionists