Plagiarism Exercise

What is plagiarism?

This exercise is intended to introduce and/or reinforce awareness of plagiarism in an effort to help students maintain University standards of
academic integrity. The University defines plagiarism below:

I. Statement of Principles

The university has a responsibility to promote academic honesty and integrity and to develop procedures to deal effectively with
instances of academic dishonesty. Students are responsible for the honest completion and representation of their work, for the
appropriate citation of sources, and for respect of others’ academic endeavors. Academic dishonesty is prohibited in all programs of
the university.

II. Academic Misconduct Subject to Disciplinary Action

(1) Academic misconduct is an act in which a student:

(a) Seeks to claim credit for the work or efforts of another without authorization or citation;

(b) Uses unauthorized materials or fabricated data in any academic exercise;

(c) Forges or falsifies academic documents or records;

(d) Intentionally impedes or damages the academic work of others;

(e) Engages in conduct aimed at making false representation of a student’s academic performance; or

(f) Assists other students in any of these acts.

(2) Examples of academic misconduct include, but are not limited to: cheating on an examination; collaborating with others in work
to be presented, contrary to the stated rules of the course; submitting a paper or assignment as one’s own work when a part or all
of the paper or assignment is the work of another; submitting a paper or assignment that contains ideas or research of others
without appropriately identifying the sources of those ideas; getting unauthorized access to examinations or course materials;
submitting, without the permission of the current instructor, work previously presented in another course; tampering with the
laboratory experiment or computer program of another student; knowingly and intentionally assisting another student in any of the
above, including assistance in an arrangement whereby any work, classroom performance, examination or other activity is
submitted or performed by a person other than the student under whose name the work is submitted or performed. (“Academic
Integrity,” UMass Lowell Online Academic Catalog)

There are two major forms of plagiarism, which Mike Palmquist identifies in his Bedford Researcher as “unintentional” and “intentional.” For
Palmquist, “In most cases, plagiarism is unintentional, and most cases of unintentional plagiarism result from taking poor notes or failing to use
notes properly” (88). He lists some instances where you might be committing unintentional plagiarism, if you:

 quote a passage in a note but neglect to include quotation marks and then later insert the quotation into your own document
without remembering that it is a direct quotation [this is known as “direct plagiarism;” it is less likely nowadays in the advent of
online works that automatically cite lines that you copy-and-paste into your own document, but is still possible if one is engaged in
manual note-taking or has lax computer skills].

 include a paraphrase that differs so slightly from the original passage that it might as well be a direct quotation [this is known as
“paraphrased plagiarism”].

 don’t clearly distinguish between ideas that come from sources [integration of sources confused, sometimes referred to as
“incomplete referencing”].

 neglect to list the source of a paraphrase, quotation, or summary in your text or in your works cited list [this also falls under the
rubric “incomplete referencing”] (88).

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N.B.: Regardless of Palmquist’s views, your instructor retains “the right to deem any suspected academic dishonesty as ‘accidental’ or
‘deliberate,’” as discussed in the course syllabus, where it also states:

Any work suspected of deliberate academic dishonesty will receive a “0,” and may severely impact your overall grade. You may also
be referred to the Dean of Students, and may face disciplinary action. In cases of suspected accidental academic dishonesty, the
student will be required to make revisions within an extremely limited time to rectify matters.

If you have any questions concerning this policy or its implementation, please consult me and I shall endeavor to assist you. Alternatively, the
UMass Lowell Academic Catalog states that “Students who have questions about the interpretation or application of University academic policy
should consult the dean of their college or the associate provost” (“Academic Policies”).

Palmquist recommends the following steps may be taken in order to avoid unintentional plagiarism:

 take notes accurately.

 integrate quotations, paraphrases, and summaries into a document.

 cite sources in the text and in a works cited or reference list (Palmquist 95).

In contrast with unintentional plagiarism, there are several, more serious practices that constitute intentional plagiarism, such as:

 engaging in “patchwork editing,” which involves piecing together passages from two or more sources without acknowledging the
source and without properly quoting or paraphrasing.

 creating fake citations to mislead a reader about the sources of information used in a document.

 copying or closely paraphrasing extended passages from another document and passing them off as the writer’s original work.

 copying an entire document and passing it off as the writer’s original work.

 purchasing a document and passing it off as the writer’s original work (88-90).

Common Knowledge

Palmquist also points out that things those within certain disciplines might know, such as the molecular structure of sugar might be common
knowledge to chemists or things that the general population would know, such as Washington, D.C. is the capitol of the United States,
constitute common knowledge. As a rule of thumb, Palmquist adds, “if three or more sources use the same information without citing its
source, you can assume that the information is common knowledge. If those sources use the information and cite the source, however, make
sure you cite it as well” (Palmquist 132).

Further Reading

For more information concerning this, please refer to Chapter 7 in Palmquist’s Bedford Researcher; there is also a useful guide on-line offered
by the Writing Center at the University of North Carolina at Chapel Hill:

https://writingcenter.unc.edu/tips-and-tools/plagiarism/

Beyond this, a couple of other institutions have good resources, such as Indiana State University:

http://panther.indstate.edu/tutorials/plagiarism/introduction.html

Another may be found at Indiana University Bloomington:

https://plagiarism.iu.edu/certificationTests/

There is also the Online Writing Lab at Purdue University:

https://owl.purdue.edu/owl/research_and_citation/using_research/avoiding_plagiarism/index.html

Finally, there is a rather fun video produced by the University of Bergen, Norway:

https://www.youtube.com/watch?v=Mwbw9KF-ACY

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Samples of plagiarism

Since intentional plagiarism takes actual conscious effort, it is assumed that the following exercise will best serve those w ho want to avoid
unintentional instances. Below are a number of examples of unintentional plagiarism to help you identify this practice, and hopefully avoid it in
your own writing. Read the passage below, to see the source that the examples will be referring to (Brater, Enoch. Beyond Minimalism:
Beckett’s Late Style in the Theater. Cary, NC, USA: Oxford University Press, Incorporated, 1990).

In That Time drama and poetry come together in the urgency of an image which matches the urgency of the subject matter. Time,
that time we spend in Beckett’s theater, is rendered economically in terms of stage space. A severed head with “long flaring white
hair as if seen from above outspread” is simultaneously character, stage prop, and stage set. The rest—and in this play Beckett will
show it to be the far greater part—is silence. In Not I, as the playwright said, “she talks;” in That Time, “he listens.” i Beckett told the
actor Patrick Magee, who played Listener at the Royal Court Theatre in the spring of 1976, during a season mounted to mark the
author’s seventieth birthday, that he would never allow the two plays to run together on a double bill. That Time, he explained, was
too self-consciously “cut out of the same texture as Not I.” ii Exquisite visual compositions with a sense of spontaneous life, both
works display a maximum of emotional intensity with a minimum of definition. “Less is more,” reads Beckett’s marginal note to his
own copy of That Time.iii Each play lasts a short time, a few minutes, yet each is timeless. Translating an obstinate proscenium into a
small-scale performance space, Beckett creates in these works intimate chamber plays in which stage decor unveils interior
consciousness. Remarkable for their use of light, the works restrict stage space and concentrate attention so that the audience’s
vision of the play is as controllable as the lens of a camera, constantly switching from wide angle to close focus. Holding the stage
with confidence, Not I and That Time release to the full the latent power of a small playing space on an otherwise large set
(Brater37).

i As reported to this author on separate occasions by S. E. Gontarski and James Knowlson.

ii Patrick Magee to Enoch Brater in May 1976; see also Cohn, Just Play, 30.
iii Cohn, Just Play, p. 172; Knowlson and Pilling, Frescoes, 219.

Direct Plagiarism: As an example of Palmquist’s first instance of unintentional plagiarism, occasionally referred to as “direct plagiarism,” here is
a hypothetical sample from a student essay on Beckett’s work in the theatre:

The work of Samuel Beckett in the theatre is really unique, compared with a lot of plays that I have read, and this is definitely true of
two of his plays that I am going to look at in this essay, That Time, and Not I. One of the facets of Beckett’s plays is the way they
expand time and compress space. This is definitely true of the two plays that I am looking at. Each play lasts a short time, a few
minutes, yet each is timeless. Translating an obstinate proscenium into a small-scale performance space, Beckett creates in these
works intimate chamber plays in which stage decor unveils interior consciousness. When you compare that with, say, a play like
Tony Kushner’s two-part epic American drama Angels in America, which compresses time with almost cinematic elliptical editing and
represents spaces separated thousands miles apart, Beckett’s work seems to be really, really minimal yet powerful in its thrust.

This student has omitted a reference to Brater’s work, and is therefore committing direct plagiarism, which may or may not be unintentional,
but which is nevertheless a serious offence.

To avoid direct plagiarism, Diana Hacker and Nancy Sommers, ask you to check the following in their Writer’s Reference:

 Have you used quotation marks around quoted material (unless it has been set off from the text)? (See MLA-2c.)
 Have you checked that quoted language is word-for-word accurate? If it is not, do ellipsis marks or brackets indicate the omissions
or changes? (See pp. 404–05.)
 Does a clear signal phrase (usually naming the author) prepare readers for each quotation and for the purpose the quotation serves?
(See MLA-3b.)
 Does a parenthetical citation follow each quotation? (See MLA-4a.)
 Is each quotation put in context? (See p. 409.) (Hacker and Sommers 412)

Paraphrased Plagiarism: An example of Palmquist’s second instance of unintentional plagiarism, also known as “paraphrased plagiarism,”
might look like this:

Another facet of Beckett’s work in the theatre is the control that his works exert over an unsuspecting audience, forcing them to
watch his plays. Again, this is really true of Not I and That Time. Amazing in the way that they utilize light, the plays limit stage space
and focus where the audience is allowed to watch so it’s like the audience is being controlled like the way a cameraman uses a
camera, continuously changing back and forth from a long shot to a really, really close-up shot.

This is again a situation where the student has lifted a sentence out of Brater’s book, and changed the words around (in this case, the student
simply used the “synonym” function on Word to find suitable alternative phrases), without taking the time to cite the work in question. Again,
this may or may not be accidental; however, the effect is nevertheless the same.

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To avoid paraphrased plagiarism, Hacker and Sommers suggest ensuring the following:

 Are summaries and paraphrases free of plagiarized wording—not copied or half-copied from the source? (See MLA-2d.)
 Are summaries and paraphrases documented with parenthetical citations? (See MLA-4a.)
 Do readers know where the cited material begins? In other words, does a signal phrase mark the boundary between your words and
the summary or paraphrase? Or does the context alone make clear exactly what you are citing? (See MLA-3b.)
 Does a signal phrase prepare readers for the purpose the summary or paraphrase has in your argument? (Hacker and Sommers 412)

Incomplete Referencing: An example of Palmquist’s third instance of unintentional plagiarism, “incomplete referencing,” happens when there
are inaccurate or missing citation details. This might involve mentioning the wrong source (i.e. incorrect author and/or page number), or
confusing multiple sources referenced within a source integration where it becomes unclear who said what. In this case, the student is still
supposed to be using Brater 37, yet there’s a complicating factor: the student wants to incorporate something Samuel B eckett once said, but it
was referenced in a source that Brater draws from himself.

By looking at both of Samuel Beckett’s plays, That Time and Not I, this essay has looked at the ways in which Beckett’s works tend to
take something and stretch it out, as with time, or compress things so they get squeezed up, as with space. This is true of That Time
and Not I, as Baker’s own marginal note for Not I reads “less is more” (Knowlson and Pilling 272).

The student has attributed material to Brater, but has referred to a fairly famous stage note from Beckett and has attributed it to Brater also
(“less is more”) instead of finding the original source of the quote. Brater, being the professional he is, knows better, and cites Beckett quoted
in Cohn 172 and Knowlson and Pilling 219 with a footnote.

Not only is this negligent referencing practice, it also undermines a potentially interesting opportunity for the student to get something “out of
the horse’s mouth,” more directly referring to what Beckett himself once said. The student also puts in the wrong name and page number in
the in-text citation.

To add insult to injury, the student has even entered the wrong in-text citation: perhaps he glanced at the footnote and saw some of the
details, and in haste put in Knowlson and Pilling and a totally incorrect page number (272 isn’t even the 172 Brater gives in his footnote to
Cohn, which is supposed to be Cohn 172).

Mistakes such as these nevertheless place the student at risk of committing plagiarism.

Finally, another example of Palmquist’s discussion of “incomplete referencing,” is to forget to account for sources from in-text citations in the
Works Cited. Again, looking at our student’s Samuel Beckett essay below:

BIBLIOGRAPHY

Beckett, Samuel. Collected Shorter Plays of Samuel Beckett. London: Faber and Faber, 1984. Print.

Cohn, Ruby. Back to Beckett. Princeton: Princeton University Press, 1973. Print.

Esslin, Martin, ed. Samuel Beckett: A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1965. Print.

Gussow, Mel. “Billie Whitelaw’s Guide to Performing Beckett.” New York Times, February 14, 1984, p. 21. Print.

____. “Endgame in Disputed Production.” New York Times, December 20, 1984, p. G-7. Print.

Styan, J. L. The Elements of Drama. London: Cambridge University Press, 1960. Print.

Without wanting to state the obvious, Brater’s work has been left out of this list of works cited, and therefore constitutes incomplete
referencing practice, which, again, is a serious offence, whether it is intentional or not.

To avoid incomplete referencing:

 Take accurate notes to ensure:

o the bibliographic details are correct
o those details are matched with the quote/paraphrase/summary you’re using
 Be sure to double-check your Works Cited/References List so it includes full details for all in-text citations or anything referenced in
the body of the essay

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Plagiarism Quiz

Now take the quiz below to test your skills at identifying properly cited sources as opposed to plagiarized ones. This is a formative (non-graded)
assignment for your benefit only. You will be asked to read a sample passage from an academic resource. You will be given twenty multiple-
choice questions, with each one showing excerpts from a hypothetical student essay that uses the academic source material. You will then be
asked you choose one response per question, which comes closest to categorizing the type of referencing practice being presented. When you
are finished, we shall go over the correct responses and discuss why these are correct. You ought to tally up your correct results at the end of
this quiz. Whilst a high number of correct responses does not exempt you from worrying about potential instances of plagiarism in your own
writing, it can mean that you have already begun to develop the self-analysis skills to help preempt your risk of committing plagiarism and to
ensure proper documentation. A lower number of correct responses should be taken as a sign that you need to be that more vigilant in your
work for documenting resources properly, in order to avoid the risk of committing plagiarism in the future.

Original Source: The passage below has been taken from page 8 of Julian Moynahan’s Vladimir Nabokov (Minneapolis: University of Minnesota
Press, 1971. Print. University of Minnesota Pamphlets on American Writers 96). All questions below must refer back to this correctly in order to
be considered “properly referenced.”

In 1940 when Nabokov departed for America, accompanied by his wife Vera and young son Dmitri, a new twenty-year phase of his
career opened. Begun in the distress and obscurity of a second exile during wartime, it was to turn, but not fully until after 1955 and
the publication of Lolita, into an extraordinary, and perhaps peculiarly American, success story. As early as 1939, while still in France,
he had begun to write in English, no doubt in wary anticipation of an impending move to England or America as Hitler’s troops were
massing to overrun Western Europe as far as the Atlantic. He settled first in the Boston area, taught Russian literature at Wellesley
while simultaneously conducting scientific research in lepidopterology at the Harvard Entomological Museum, and brought out his
first full-length literary work in English, the beguiling and melancholy The Real Life of Sebastian Knight, in 1941. Over approximately
the next decade and a half there occurred the amazing transformation of this middle-aged, twice-exiled European artist, scientist,
and scholar into the great American author whom the world acknowledges today. His stories and v erses and the chapters of his
memoir about his Russian and European years appearing in the New Yorker during the late 1940’s and early 1950’s, which showed a
constantly expanding command of English written style and its American vernacular adjuncts, established him with an American
audience. At Cornell, where he taught Russian literature for some ten years after leaving Boston, he was able to pursue the n ostalgic
yet profound studies in Pushkin which culminated in his monumental four-volume translation of Eugene Onegin with commentaries
(1964). Cornell also exposed him to the pleasures, pangs, pomps, and bizarreries of American academic life, an experience he would
put richly to use in writing the comic and touching prose sketches that make up Pnin (1957) and the third of his three greatest books,
Pale Fire (1962). Even the long American academic vacations made a signal contribution, for it was during summers away from
Cornell, while traveling extensively through North America on butterfly-hunting expeditions, that he became familiar with the
ambiance of highways and byways, the subculture of motels, filling stations, frazzled eateries, and bypassed, desperate resor ts
which contribute so sinister and pitiful a flavor to the imaginative environment of Lolita (Moynahan 8).

Now answer the following multiple-choice questions, with each one showing excerpts from a hypothetical student essay that has attempted to
incorporate material from this academic source material. You must only choose one response per question, which comes closest to categorizing
the type of plagiarism being presented in each of the question’s examples, or if the example represents properly documented material. When
you have finished, please turn over your paper and remain quiet to allow others to complete the quiz.

1. Pnin was one of Nabokov’s most endearing novels, which Julian Moynahan describes as a series of “comic and touching prose
sketches” that resulted from the Russian’s time spent teaching at Cornell (Moynahan 8).

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

2. As early as 1939, while still in France, he had begun to write in English, no doubt in wary anticipation of an impending move to
England or America as Hitler’s troops were massing to overrun Western Europe as far as the Atlantic. He settled first in the Boston
area, taught Russian literature at Wellesley while simultaneously conducting scientific research in lepidopterology at the Harvard
Entomological Museum, and brought out his first full-length literary work in English, the beguiling and melancholy The Real Life of
Sebastian Knight, in 1941.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

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3. Nabokov’s vacations away from teaching while he was in America also inspired his work, as his travels largely through North America
looking for butterflies exposed him to the charm of American roadways, the quirky tradition of motels, gas stations, diners, and
derelict resorts that appear with an ominous but sad presence in Nabokov’s creative backdrop for his novel Lolita.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

4. Nabokov wrote stories, poems, and brief autobiographical pieces for The New Yorker during the 1940’s and the 1950’s, gaining more
experience in English (and American English at that), as well as an American audience.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

5. Nabokov taught Russian literature at Cornell for almost a whole decade after he left Boston. During this time, he realized his
ambition to conduct sentimental though insightful studies about Pushkin that resulted in his mammoth translating into four-parts
Eugene Onegin with editorial comments in 1964.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

6. In 1940 when Nabokov departed for America, accompanied by his wife Vera and young son Dmitri, a new twenty-year phase of his
career opened. Begun in the distress and obscurity of a second exile during wartime, it was to turn, but not fully until after 1955 and
the publication of Lolita, into an extraordinary, and perhaps peculiarly American, success story.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

7. (Consider how the original source is cited in the example below to determine whether or not there are referencing problems).

Works Cited
Albright, Daniel. Representation and the Imagination: Beckett, Kafka, Nabokov, and Schoenberg. University of Chicago
Press, 1981.

Boyd, Brian. Nabokov’s Pale Fire: the Magic of Artistic Discovery. Princeton University Press, 1999.

Fowler, Douglas. Reading Nabokov. Cornell University Press, 1974.

Juliar, Michael. Vladimir Nabokov: a Descriptive Bibliography. Garland, 1986.

Nabokov, Vladimir. Pale Fire (1962). Berkley, 1975.

Wood, Michael. The Magician’s Doubts: Nabokov and the Risks of Fiction. Princeton University Press, 1995.

Zunshine, Lisa, editor. Nabokov at the Limits: Redrawing Critical Boundaries. Garland, 1999.

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

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8. As Julian Moynahan says in her book, titled, appropriately, Vladimir Nabokov, Ruby Cohn commented about how America offered
both a springboard for the émigré writer to hone his linguistic skills, as well as a pool of appreciative readers:

His stories and verses and the chapters of his memoir about his Russian and European years appearing in the New Yorker
during the late 1940’s and early 1950’s, which showed a constantly expanding command of English written style and its
American vernacular adjuncts, established him with an American audience (Brater 8).

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

9. As Julian Moynahan notes in his book, Vladimir Nabokov, “Cornell also exposed him to the pleasures, pangs, pomps, and bizarreries
of American academic life” (8).

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

10. Nabokov’s “first full-length literary work in English, the beguiling and melancholy The Real Life of Sebastian Knight, in 1941” remains
one of the author’s least-studied texts (Moynahan 8).

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

11. Nabokov’s work at Cornell exposed him to the pleasures, disappointments, pomposity and eccentricities of American academia,
which he claims would directly inform Nabokov’s poignant comic novel Pnin (1957) and the last of his three masterworks, Pale Fire.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

12. Over approximately the next decade and a half there occurred the amazing transformation of this middle-aged, twice-exiled
European artist, scientist, and scholar into the great American author whom the world acknowledges today.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

13. As Monyhan points out, Nabokov’s life transformed into the embodiment of the American dream with the 1955 release of Lolita,
where Nabokov went from being a Russian émigré enduring a twenty-year epoch of obscurity and hardship exiled from his native
land during World War II (Moynahan 8).

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

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14. (Consider how the original source is cited in the example below to determine whether or not there are referencing problems).

Works Cited
Albright, Daniel. Representation and the Imagination: Beckett, Kafka, Nabokov, and Schoenberg. University of Chicago
Press, 1981.

Boyd, Brian. Nabokov’s Pale Fire: the Magic of Artistic Discovery. Princeton University Press, 1999.

Fowler, Douglas. Reading Nabokov. Cornell University Press, 1974.

Juliar, Michael. Vladimir Nabokov: a Descriptive Bibliography. New York: Garland Pub., 1986.

Moynahan, Julian. Vladimir Nabokov. University of Minnesota Press, 1971. University of Minnesota Pamphlets on
American Writers 96.

Nabokov, Vladimir. Pale Fire (1962). Berkley, 1975.

Wood, Michael. The Magician’s Doubts: Nabokov and the Risks of Fiction. Princeton University Press, 1995.

Zunshine, Lisa, editor. Nabokov at the Limits: Redrawing Critical Boundaries. Garland, 1999.

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

15. As far back as 1939, even though the Russian novelist was then residing in France, Nabokov practiced developing his English, where
the author likely felt the winds of war blowing down his neck, and, wanting to escape to the United Kingdom or to the United States
as Hitler’s sweep across Europe began.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

16. Julian Monyhan has recounted the Nabokov family’s flight to America in his biography Vladimir Nabokov, where the Russian author’s
brought his wife Vera and son Dimitri to America in 1940, for what would be a new chapter in the author’s professional life spanning
two decades (Moynahan 8).

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

17. Nabokov was a busy man: at the time in 1941 when he produced his first major work, The Real Life of Sebastian Knight, he was also
at Wellsley College teaching Russian literature, and at the same time performed research into the study of butterflies.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

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 18. Julian Monyhan talks about how Nbokov had a personal interest in Russian butterflies, whom he taught for ten years at Harvard, and
so much more in his biography, Vladimir Nabokov.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

19. Julian Moynahan observes how Nabokov gained an American following toward the end of the 40s and through the 50s with his
fiction, creative non-fiction about his life abroad, and his poetry, while at the same time strengthening his English fluency and its
American variants, through Nabokov’s contributions to the New Yorker (Moynihan 8).

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

20. The novelist’s exposure to different facets of American culture, including hospitality, travel and dining, influenced the squalid pathos
of Lolita, so that even Nabokov’s downtime on butterfly sojourns during the summer made a positive contribution to his literary
development.

(Moynahan’s work has been cited correctly in the essay’s Works Cited).

a. “Direct plagiarism.”
b. “Paraphrased plagiarism.”
c. “Incomplete referencing.”
d. “Properly referenced.”

Works Cited

Brater, Enoch. Beyond Minimalism: Beckett’s Late Style in the Theater. OUP, 1990.

Hacker, Dianna, and Nancy Sommers. A Writer’s Reference. 8th ed., Bedford/St. Martin’s, 2016.

Moynahan, Julian. Vladimir Nabokov. University of Minnesota Press, 1971. University of Minnesota Pamphlets on American Writers 96.

Palmquist, Mike. The Bedford Researcher. 5th ed., Bedford/St. Martin’s, 2014.

---. The Bedford Researcher, 6th Edition. Bedford/St. Martin's, 2018.

“Undergraduate Policies: Academic Integrity.” UMass Lowell Online Academic Catalog. UMass Lowell.
https://www.uml.edu/Catalog/Undergraduate/Policies/Academic-Policies/Academic-Integrity.aspx. 12 Feb. 2018.

Suggested Answers

1. d. 2. a. 3. b. 4. b. 5. b.
6. a. 7. c. 8. c. 9. d. 10. d.
11. b. 12. a. 13. d. 14. d. 15. b.
16. d. 17. b. 18. c. 19. d. 20. b.

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