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Among literary-theoretical concepts, mimesis has one of the longest histories, dating back to Plato and Aristotle. In the twentieth century, discussion of mimesis resulted in a number of highly influential contributions, including Eric Auerbach's Mimesis and Paul Ricoeur's Time and Narrative. In this article, we use Ricoeur's tripartite model of mimesis as a catalyst for a dialogue between unnatural and cognitive approaches to narrative. In the first part, we argue that, as a form of simulation (and not just passive imitation), mimesis is best conceptualized in terms of readers' mental modeling of narrative texts. We build on work in cognitive psychology and psycholinguistics to show how readers understand narrative by building situation models derived from their everyday, embodied experience. However, as unnatural narratology emphasizes, not all narratives are consistent with real-world experience. Thus, in the second part of the essay, we examine and discuss the strategies through which readers can accommodate physical and logical impossibilities in narrative by adapting their situation models. In the final part of the article, we turn to D. M. Thomas's The White Hotel, a prototypically "unnatural" novel in that the protagonist's experience is caused by future events rather than by past ones. Our discussion of this novel shows situation models and interpretive strategies at work, exemplifying our claims and grounding them in a textual example. Through this combination of cognitive models and unnatural theory, we develop a framework for understanding mimesis that moves beyond dichotomies between "natural" and "unnatural" stories. [ABSTRACT FROM AUTHOR]

This essay presents an examination of the accusations of plagiarism that English poet Anna Seward levied at other authors and scholars, particularly Charlotte Smith and Erasmus Darwin, and attempts to explain her concerns about plagiarism based on her ideas of natural history. The author discusses how Seward's thinking about imitation and plagiarism incorporated biological ideas related to originality and hybridity. The author shows how Seward believed Smith's and Darwin's works were hybridizations of established literary forms that violated her conception of authorship.

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 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.