Search

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]

After critically reviewing the divisions of imitation as proposed by Dryden and Genette, among others, the author discusses the evolution of this concept, from its origins to its latest development in modern England. His aim is to build an objective model for analyzing imitation as a form of translation. He then analyzes a case study from East Asia: Japanese manga imitations of the Chinese novelThe Journey to the West, in particular Minekura Kazuya’s 1997–2002Journey to the Extreme(Gensōmaden Saiyūki). The author seeks to show how the changes made by the manga artists to the plot and characters exemplify ways in which imitations function in a new context. The article ends with some historical reflections on the position of imitation in translation theory and practice, while relating it to the contemporary context. It is hoped that the discussion will contribute to dispelling the misunderstandings and prejudice towards imitation, at the same time encouraging renewed attention to this old concept. [ABSTRACT FROM PUBLISHER]

The first printed grammar of the Italian vernacular, Fortunio's Regole grammaticali della volgar lingua (1516) responded to a need for guidance in imitating Tuscan authors of the Trecento, in line with the doctrine whose most authoritative proponent was Pietro Bembo. The Regole emerged on the fringes of the cultural mainstream. Fortunio conceived the work in Venice but he came to be suspected of treachery against that state. The structure of the Regole does not follow slavishly that of the Regulae grammaticales used to teach Latin. Fortunio owes much to the work of Bembo, but he does not follow him in every respect. The Regole appeared in a relatively minor centre, Ancona, where shortly afterwards Fortunio died violently. The nature of the Regole, and indeed its very existence, did not meet with universal approval. However, it was reprinted frequently in the Cinquecento and had a formative influence on the early study of Italian grammar. [ABSTRACT FROM AUTHOR]

An experiment with 212 students (100 men, 112 women; M age=18.3 years, SD=0.9) was carried out to compare the effect of four techniques used by mediators on the number of agreements contracted by negotiators. Under experimental conditions, mediators were asked either to rephrase (reformulate) negotiators' words or to imitate them or to show active listening behavior, or finally, to use a free technique. More agreements were reached in the active listening condition than in both free and rephrase conditions. Furthermore, mediators in the active listening condition were perceived, by the negotiators, as more efficient than mediators using other techniques, although there was no significant difference observed between the active listening and imitation conditions. [ABSTRACT FROM AUTHOR]

Loys Le Roy’s final work, De la Vicissitude ou variété des choses en l’univers (1575), has often been cited as one of the earliest Modern interventions in the Querelle des Anciens et des Modernes. This article explores what might be Modern about this text via a close reading of its final chapter. It draws on Cave’s theory of pre-histories to situate Le Roy within the broader context of the Querelle as well as to offer a reading of Le Roy’s juxtaposition of ancient and modern culture that restores a sense of the particularity both of the work itself and of the immediate context of the work’s composition and publication. In investigating how Le Roy might be considered ‘Modern’, it explores his treatment of the themes of imitation, translation, growth and decay, and the development of new genres or kinds of writing, as informed by contemporary humanist debates, as well as by the context of the French civil wars. It is argued that Le Roy’s view of ancients and moderns is informed both by his understanding of history and by a dual conception of time, which lead him to invest cautiously in the idea of greater, or more perfect, cultural production in the future. [ABSTRACT FROM AUTHOR]