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The present article examines the imitation of the bibliographic codes and peritexts of printed books in numerous Finnish juvenilia manuscript books from the late nineteenth century to the 1920s. These meticulously crafted books by Helka Hiisku (1912-1962), Elina Vaara (1903-1980), Katri Vala (1901-1944) and Yrjö Koskelainen (1885-1951) were probably not intended to be printed or published in the traditional sense but have most likely circulated among an extremely limited readership of friends and family. An investigation of the imitation of printed books in relation to content, pseudonyms and the publisher's peritext, such as illustration, book covers, title pages and typography, shows how thoroughly the concept of the book determined writing in the first half of the 20th century. Handmade books might have been a hobby activity but they also demonstrate how aware budding writers were of the bibliographical code and peritexts of the printed book. [ABSTRACT FROM AUTHOR]

This paper examines the topic of imitative poetry in Plato. Its aim is to determine whether, for Plato, may be a mimesis of value and consequently an acceptable mimetic poetry. For this, two sections concerning a valid Republic imitation will be analyzed. This would be based on the dialectical understanding of intelligible realities; condition that the poet can not be covered. My hypothesis is that the solution to this problem is the Platonic idea of 'design', which -derived the ideal paradigm- would be the tool for the imitator. Philo has conceptualized this tool in his idea of archetype. [ABSTRACT FROM AUTHOR]

The article discusses the significance of using imitation in teaching poetry. According to the author, imitating contemporary poems can help develop the creative ability and critical thinking skills of students. Several poems are highlighted which include "Relax," by Ellen Bass, "The Sunflowers," by Mary Oliver and "It Is Dangerous to Read Newspapers," by Margaret Atwood. INSETS: GUIDELINES FOR CHOOSING MODEL POEMS;LINKS TO MODEL POEMS.

Miguel de Cervantes incorporó varios romances en su Don Quijote de 1605 y esta práctica fue imitada por Alonso Fernández de Avellaneda en su continuación de la novela cervantina. Entre las baladas incluidas en el "Segundo tomo del ingenioso hidalgo don Quijote de la Mancha" figura un "romance del conde Peranzules," aludido por Sancho Panza en el episodio de los melones. Avellaneda, defensor de la ortodoxia religiosa y del inmovilismo social, usó la balada para dirigir una crítica a su rival a propósito de ciertos pasajes sobre magia terapéutica del primer "Don Quijote." Es posible que el romance de Peranzules, que hasta la fecha no ha sido identificado, esté relacionado con el romance de "El conde don Pero Vélez." [ABSTRACT FROM AUTHOR]

This essay analyzes the "indiano" character in "Tormento" and "La loca de la casa" by Benito Pérez Galdós. Utilizing in part the concepts of the stereotype, hybridity, and mimicry as theorized by Homi Bhabha, I argue that the "indiano" exposes gaps and fissures in colonial discourse present in these texts, functioning to betray anxiety about Spain's national identity and waning imperial status. Ultimately, normative constructions of metropolitan masculinity are rejected in favor of the "indiano's" embodiment of hybrid subjectivity, one with the potential to "regenerate" Spain. In "Tormento," the "indiano" is a positive figure but impossible to reconcile with the nation, while in "La loca de la casa," the indiano is presented as a viable path through which national regeneration may take place [ABSTRACT FROM AUTHOR]

This paper considers Oscar Wilde's 1923 appearances at séances in the home of Hester Dowden, an episode in Wilde's afterlife that informs ongoing debates about the transmission of thought in Wilde's aestheticism. I draw on Gabriel Tarde's sociology, which became known in the interlude between Wilde's death and his 1923 ghosting, in order to claim that, in Wilde's work, imitation structures even seemingly autonomous actions. For Wilde, imitation and its inescapability constitute the creative act, and in The Picture of Dorian Gray and the plays, especially The Importance of Being Earnest, Wilde offers what we might call a playful sociology of imitation. This view of artistic production rejects what Wilde calls literary mimesis in favor of an account of exuberant creativity that nonetheless affirms the inescapable influence--or the social mimesis--of other minds. [ABSTRACT FROM AUTHOR]

The article discusses the work "The Inkblot Record" by Dan Farrell in terms of 'pataphysics in poetry and the political possibilities of a 'pataphysical poetic. According to the author, 'pataphysics a pseudophilosopy that deals with the science of imaginary solutions, a term coined by French author Alfred Jarry in 1898. This is then framed in terms of Farrell's poetics, with reference to parody, mimicry, and exaggeration. The author uses this viewpoint to discuss the politics, content, and style of Farrell's work.

The article presents the summary of a conference that focused on the evidence of emulation in humanistic and vernacular cultures in Europe. It was held from April 15-17, 2010 in Munich, Germany. Topics under discussion at the conference included the reception of German humanism in Heidelberg, Germany from 1544 to 1556, figures of emulation in 16th century German novels, as well as the self-actualization of artists in the 1600s.

1QHodayota 11:6-19 exemplifies some of the techniques by which an author could, successfully, imitate biblical language without, simultaneously, implying that the reuse was exegetical. Seven scriptural texts-each crafted around themes of life, death, or the sea-dictated the poem's themes and much of its vocabulary (Jonah 2:3-7; Ps 77:17-18; 107:23-27; Isa 66:7; Jer 10:13/51:16; Job 36:16-17; 41:23). The author of 1QHa 11:6-19 mimicked the biblical idiom of these sources, but, to avoid evoking the sources too clearly, the author broke up and/or adapted many of the most rare and distinctive of the borrowed locutions. In those cases where the author reused multiple locutions from a single source-text, the borrowed elements were separated from one another, scattered widely across the new poem. The outcome was a new text that reflected biblical expression and style, yet it did not offer or imply any interpretation of the sources of that style. [ABSTRACT FROM AUTHOR]

Bazerman's point (cf. Bazerman, this issue of RBLA) that the whole notion of plagiarism is beset with a fundamental, conceptual paradox is argued to be absolutely right as far as it goes but is shown to be only one of a plethora of inter-related paradoxes that plague the entire conceptual field. On the one hand, this makes plagiarism a concept (if at all it is one!) so very difficult to grapple with and particular cases of alleged plagiarism next to impossible to pin down with any amount of clarity or hundred per cent certainty. But on the other hand, it is perfectly reasonable to continue viewing the issue of plagiarism as an ethical one though not necessarily a moral imperative. [ABSTRACT FROM AUTHOR]

The Sami author Matti Aikio from Karasjok made his debut in 1904 in Copenhagen with Kong Akab ['King Akab']. He was one of the world's earliest indigenous authors, and presented his first novel to the Norwegian public with I dyreskind ['In Hide'] in 1906. The last of a total of six novels was Bygden på elvenesset [The Parish on the Riverbank], launched posthumously in 1929. In this article I present a post-colonial reading of this last novel of his. My hypothesis is that he wrote his first Norwegian novel anew, but this time social success amongst the Sami population is dependent upon the conduct of Sami culture. All of his novels reflect upon different strategies at hand for members of an ethnic minority in times of an advancing European industry, economy and culture, heavily influenced by a social-Darwinist political and anthropological cosmology. Being the first registered Sami student of Norway, while writing his novels in Norwegian, Matti Aikio developed skills as a master of mimicry. Having experienced the importance of hybridity, he studies the limits of mimicry in his novels. This is the main project of his literary work, and with tools from post-colonial literary theories, this essay discusses the author's attitudes to the possibilities of his own ethnic culture's survival in the future. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "Don Quixote" by Miguel de Cervantes is presented. The work is examined in light of the concepts of representation, reality, and imitation. Topics include mimetic representation, the role of communication in representation, and the role of games and cruelty in the novel's portrayal of representation. Also discussed are the novel's ducal characters, such as knights, duchesses, and dukes, and types of game-playing in the novel, including methectic play.

The article discusses the idea of literary contagion in the context of British writers adopting a character from the German novel "Werther" or "Die Leiden des jungen Werther" which was written by Johann Wolfgang von Goethe in 1774. British authors and artists who have represented the protagonist Werther in their work include Jane Porter in her book "Thaddeus of Warsaw," James Sayer in the satiric etching "Werther, a tragedy for masters & misses," and Pierre Perrin who feminized the literary character in his epistolary novel "Werthérie." The evolution of Werther as a sentimental caricature in British literature is discussed.

Shakespeare's Titus Andronicus critically engages and enacts teachings and patterns of emulation, including those of Quintilian, Roger Ascham, and other contemporary humanists and playwrights, pressing emulation's uses to extremes that suggest that imitative self-fashioning potentially results in monstrous or fragmented characters, decisions, and texts. The professed aim of the grammar-school education, the ability to judge well, is conflicted by Titus's exposure of judgment as itself a contested concept, locked within a circularity of inter textual precedents. Titus's excessive, even parodic, repetition of emulative strategies acts as a rebuttal of seemingly straightforward humanist models of character, judgment, self and decorum. [ABSTRACT FROM AUTHOR]

This article offers a close reading of Juan de Espinosa Medrano's three-act play El amar su propia muerte in relation both to the author's theatrical models in Spain and to his particular preoccupations as a Peruvian intellectual aware of his secondary position vis-à-vis Spanish cultural centrality. Following the practices of baroque imitatio, Espinosa Medrano succeeded in bringing together the multiple conventions and subgenres of the comedia nueva in such a way that he not only demonstrated a totalizing assimilation of his models but also interrogated their underlying logical structures. The result is an allegory of ingeniousness linked to the author's overall project, made more explicit in such works as his famous Apologético en favor de Góngora, of Creole intellectual vindication. [ABSTRACT FROM AUTHOR]

The article presents a reaction to "Canonizing the Canonizer: A Short History of The Norton Anthology of English Literature," (NAEL) by Sean Shesgreen. It states the claim of Shesgreen which accounts not only for the advancement of the NAEL, but also for the constitution of its evolving table of contents. It highlights the author's view regarding the falsification, omissions that are apparent to the essay of Shesgreen.

The article focuses on the author's response to several criticis of his essay "Canonizing the Canonizer: A Short History of The Norton Anthology of English Literature." He argues that when he wrote his essay, he was in aggrement with five respondents on one common assertion, which aims to offer a thesis entirely self-evident and uncontroversial. It highlights the humility shown by the author, despite of the various allegations that might destroy his credibility as publisher.

The article presents a reaction to "Canonizing the Canonizer: A Short History of The Norton Anthology of English Literature," (NAEL) by Sean Shesgreen. It explores the author's arguments pertaining to Shesgreen's article, which is not actually a review on NAEL. It highlights the tendency of some scholars to sacrifice their credibility and ethical values in exchange for monetary gain.

The article presents a reaction to "Canonizing the Canonizer: A Short History of The Norton Anthology of English Literature," by Sean Shesgreen. It relates to the author's reaction to Sean Shesgreen's research on M. H. Abrams, which cast a complex blend of imitation and rivalry. It suggests that before a book can be sold to professors, acquisitions editors, they must be sold first to their superiors, then to company's sales force.

This study examines Gogol''s complex self-fashioning during the time of the creation and reception of his Ukrainian tales Vechera na khutore bliz Dikan'ki [Evenings on a Farm near Dikan'ka] (1831-1832) in light of the postcolonial concept of mimicry. Gogol''s self-fashioning is studied through his submission to the symbolic power responsible for branding him as the Other in imperial Russian culture, as well as through his deliberate strategy of mimicry. Not only did Gogol's marginal social status and his Ukrainian ethnicity create a social hierarchy responsible for fashioning him as "an outsider within" imperial culture, Gogol himself engaged in the colonial mimicry, trying to reverse the colonial gaze that imagined him as a "sly" Ukrainian. Challenging the accepted view of Gogol' as one who internalized the colonial stereotype of a "sly" Ukrainian, this study treats Gogol's identity as strategic, positional, and ambivalent. The first part of the study focuses on the manipulation of stereotypes of the Other within the Russian nationalist imagination in the early 1830s; the second part examines Gogol's ambivalent visual self-representation and social performance that simultaneously mimicked and menaced the colonial authority. [ABSTRACT FROM AUTHOR]

The article offers information about 18th century probability theories published by French mathematicians Pierre Rémond de Montmort and Abraham De Moivre; and Swiss mathematician Jacob Bernouilli. Montmort's "Essay d'analyse sur les jeux de hazard" was published in 1708 and was followed by a second edition in 1713. Bernouilli's posthumous work "Ars Conjectandi" was published in 1713, and De Moivre's "De Mensura Sortis" appeared in 1711 and was later enlarged into "The Doctrine of Chances" in 1718. The author compares and contrasts the works on the probabilities of games of chance and discusses the historical dispute between Montmort and De Moivre who accused each other of plagiarism.

The article presents a literary criticism and philological analysis of Christopher Marlowe's 16th century rendition of the fable of "Hero and Leander," outlining its literary style and devices. The significance of the work within greater English literature is reviewed. An in-depth analysis is also offered concerning Marlowe's literary imitation of the Greek writer Musaeus as taken from grammar school editions of the legend.

This study explores the Sīniyyah of Ahmad Shawqī (1868-1932) in relation to that of al-Buhturī, focusing on the meaning of architecture. His Sīniyyah poem, entitled "The Journey to al-Andalus," is well-known as a mu˛āradah (imitation) of the Sīniyyah by an eminent ˛Abbāsid poet, al-Buhturī (821-897 C.E.). Shawqī's Sīniyyah can be seen as a double imitation of poem and architecture. On the one hand, Shawqī's work is a literary imitation of a neo-classical poet imitating a classical poet. On the other hand, it is a description/imitation of Andalusian architecture. His act attempts to reconstruct a lost past, one through the verbal imitation/emulation of a verbal art work/monument, the other through the verbal description of plastic/architectural monuments. [ABSTRACT FROM AUTHOR]

This article offers information about the issue of plagiarism in romanticism. Plagiarism is defined as re-use invalidated by a major cultural, economic, and legal community, while, authorized appropriation is treated as a textual re-use validated by such community. It is said that these two terminologies are often misused. It is stated that when romantic writers are charged of plagiarism, they aggressively covered the issues between plagiarism and authorized appropriation. In this article, two cases of textual appropriation are presented including "The Ruined Cottage," "The Deserted Cottage," and "Michael," while the second case includes "Evening in the Vale of Festiniog," and "Tintern Abbey." It is suggested that in these cases, plagiarism assists in making romantic literature.

This article discusses how quixotic writers on either side of the Atlantic used transformative imitative technique to address a critical issue of transnational imitation and to foreground national and gender differences. The author states that the three writing practices he discussed suggest that there is a history of writing which invites further work. The author also consider the requirements of the construction of autochthonous and original national literatures.

Comments on the stylization and mimicry in the Russian literary theory. Distinction of the Russian concept of stylization; Literary works that are exempted from analysis of stylization; Poets that are considered as stylizers.

Explores the cultural practices based on class mimicry that flourish in late-nineteenth-century in New York. Representation of the practices in Stephen Crane's book "Maggie: A Girl of the Streets; Consideration of the practices as pressed into the service of class formation; Ambiguity on the function of the practices; Use of the term class mimicry to describe the social process which informs consumption.

Explores the character of Gnesippus in the Athenian comedy. Identification of mimic elements in the texts; Word used as a slighting description of display-oratory in the Gorgianic or Thrasmachean style; Term that refers to a collection of epigrammatic pieces of humorous character.

Investigates whether plagiarism may occur inadvertently if one has implicit memory for previously seen material. Occurrence of inadvertent repetition for both real and fictitious exemplars; Illustration of materials and procedures used in the experiment; Initial and final generation responses that contained the key letter combinations.

The article focuses on the notion of imitation in painting and poetry. It discusses the commonalities between painting and poetry. It examines the paintings "The Conversion of St. Paul" by Michaelangelo Merisi da Caravaggio and "Self-Portrait as the Apostle Paul," by Rembrandt. It comments on the concept of mimesis, the attempt of art and literature to find truth, and the impact of desconstructive literature on art and literary criticism.

Discusses the extent of Arthur Murphy's borrowings from a 'Rambler' essay written by Samuel Johnson in the 1750s. Johnson's anonymous publication of 'Miscellaneous Observations on the Tragedy of Macbeth; Murphy's observations on the same play in the November 17, 1753 issue of the 'Gray's Inn Journal'; Murphy's apology to Johnson for having unknowingly printed the latter's essay in his periodical publication.

Discusses the importance of originality, imitation, translation and plagiarism in relation to the notions of textuality in manuscripts. Analysis of the poem 'Il Filostrato,' by Geoffrey Chaucer; Description of translation.

Examines the ideas of Montaigne which Laurence Sterne used in his book 'Tristram Shandy'. Discussion on the theory of the character of Walter Shandy which is similar to Montaigne's; Extension of Montaigne's metaphor of knowledge by Tristram; Information on the algebraic symbol common in Montaigne and Tristram.

The article focuses on the literary writing style of a novelist Laurence Sterne. A true imitator does much more than simply spatchcock other texts into his own, or dutifully give a foreign idea an agreeable turn: other men's thoughts are not a supplement to his own but the very means by which his own thought takes place. At its most utilitarian Sterne's borrowing on his hero's behalf is merely a way of finding convenient sources of recondite information with which to ornament a theme like love, education, or death. These days it is usual to concentrate on his originality, his contempt for rules, his debunking of conventions, his readiness to experiment with the novel-form, in short his modernism. By contrast, those critics who have studied the texts and methods he used to supplement his originality have tended to conclude that he had an old-fashioned taste for literature and wit and that what is odd about him is what is out of date. The imitative component in hobbyhorses is what makes them such apt instruments for character-drawing because it exhibits what the character wishes to present of himself and it also is the means of turning his inside outward.

The author reflects on duplicate publications, self-plagiarism and the monotony of endless descriptive studies. He discusses how the advent of plagiarism software into the manuscript submission process makes identifying plagiarism easier. He stresses the importance of identifiying new methods of inquiry and different conceptual structures to change the shape and patterns of knowing that so much information have been acquired.

The author comments on the mentoring activities that can be performed by a university's Plagiarism Cell in India. Topics discussed include the cell's role in helping authors overcome the fear of inadvertent text-plagiarism, the use of the cell in allowing researchers to gain visibility on research output and the cell's role of helping those who have become victims of plagiarism. Also mentioned is the role of a referee to seek access to the project proposal.

The article offers information for the author regarding the submission of manuscripts to tsuhe periodical. It mentions author misconduct policy that includes Plagiarism which means copying someone else's work without appropriate credit. It further mentions submission format according to which each submission must be classified with an editor's information classification scheme (EDICS).

The author reflects on the role of scientists in the crisis of ethics in science. He mentions that there is no doubt that the entire essence of science, the pleasure of an attained target or discovery, has been lost among the requirements that cannot be controlled to produce increasing numbers. He states that established and young scientists have introduced false outcomes into the literature or have done plagiarism, which has caused confusion across the community.

The article presents a reaction to "Canonizing the Canonizer: A Short History of The Norton Anthology of English Literature," by Sean Shesgreen. It relates how Shesgreen obtained those pertenent documents from M. H. Abrams, a famous 20th century literary critic. It highlights the accountability of the "Critical Inquiry" to condone those incompetent estimates, factual unintelligent ideas and using quotations out of context.

The article presents a reaction to "Canonizing the Canonizer: A Short History of The Norton Anthology of English Literature," by Sean Shesgreen. It explores the author's view regarding Shesgreen's wrongful attribution of quotations, distortion of words by taking it out of context, which implies his lack of courtesy with his sources. It highlights the acts of Shesgreen as an blatant disservice and by extention, he is done the same for those interested in the history of literature anthologies.

The article offers information on plagiarism. It mentions plagiarism as an act of fraud that involves both stealing someone else's work and lying about it afterward. The plagiarism cases involve the copy and paste method, besides other methods such as changed words, copied parts mixed with original work, and a collection of miscellaneous copied parts. It discusses the role of Internet in plagiarism. The types of plagiarism include not citing the original source comprising both of the mono-plagiarism and the multi-plagiarism patterns as well as citing, and unintentional plagiarism. An overview of the short-term and long-term consequences of plagiarism and its prevention policies is also offered. The policies are aimed at encouraging quality writing and protecting original work.

The article focuses on the instances of author misconduct in the journal "Pramana." It highlights the issue of plagiarism to some of the scientific information that have been published within the journal. It outlines the efforts of the periodical's Editorial Board members to review the manuscripts and write ups for preventing and disclosing the acts of plagiarizing.

The authors reflect on the issues of plagiarism, the appropriation or imitation of the language, ideas and thoughts of an original work of an individual. According to them, the degree of plagiarism could be as mild as the copying of a single sentence from another author without acknowledgement to the lifting of a number of materials from other sources. They emphasize that the growth on the Internet helps to detect the act of plagiarizing.

The article discusses the growth of scientific misconduct which results from the increasing pressures to publish for career development, competition for research support and fame. It cites the major forms of scientific misconduct, which include fabrication, falsification and plagiarism. The meanings and differences of the three forms are highlighted. Measures on how to combat such problems are provided.