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This paper analyzes the musicalization of the fiction present in Vals, the most valued novel of Francesc Trabal. The present article suggests a different reading of this novel based on the concept of intermediality and through two axes: imitation and thematization (paratextual, contextual and intratextual one). In this sense, a very close relation between this musicalized fiction and the notion of metafictional irony is observed and it helps to understand the ludic proposal established by Trabal. [ABSTRACT FROM AUTHOR]

El artículo presenta una crítica literaria de "Mímesis" de Erich Auerbach. El autor comenta sobre la representación de la realidad en la literatura occidental así como el concepto del mímesis, un tipo de imitación, en la obra de Auerbach. También se considera la historia reciente de la literatura occidental.

An essay is presented on plagiarism. It discusses the theory that a comparable situation holds for writers and works of the future, which practice on past and present literature a kind of spread out radiation. It explains the particular perception that allows readers, in examining texts with enough care, to grasp the new aesthetic territories where the readers are headed. It implies that the entirety of the literary history conception must be altered, once anticipatory plagiarism is accepted.

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.

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.

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.

Chapter 2 of the book "Bulletin of Hispanic Studies" is presented. It explores the Fábula de Polifemo y Galatea, a poem written by Luis de Góngora, in a imitative view. It also presents the poem's substantial reading done by Jóse María Micó which synthesizes Góngora's texts.

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.

The article focuses on the depiction of colonization by both European settlers and Native Americans in the work of William Faulkner. The Indian co-optation of the culture of ownership endorsed by the European colonizers in the "Wilderness" stories is considered. The author provides a reading of the story "Lo!," using Homi K. Bhabha's theory of mimicry. A brief thematic overview of "Lo!," is provided. The impact of ownership of European possessions on Faulkner's Indians is considered. Faulkner's "A Justice," and "A Courtship," are also discussed.

A remarkable fact about William Shakespeare's The Tempest is that characters do not always see or hear the same thing. But while this estrangement of knowledge thins out the boundaries between character and environment to recognizably great dramatic effect, the aporetic energies underlying that estrangement are not yet fully understood. This article explores their significance by examining the connections between The Tempest and Michel de Montaigne's An Apologie of Raymond Sebond (long suspected to be related). It proposes a new verbal parallel between the play and the essay but does not confine its argument to such a criterion. Rather, it is a case study in the Renaissance practice of imitation that works from a number of aspects—shared matrices of thought and feeling, similar metaphors, networks of texts—to reconstruct the presence of a locus classicus of Renaissance skepticism in Shakespeare's late play. Along the way, it triangulates these works with a discussion of King Lear and examines the presence of Vergil and the possible presence of Seneca. It argues that Shakespeare used Montaigne's essay to make his island epistemologically strange and that this sensitive use of a philosophical source is notable for being so deeply dramatically embedded. [ABSTRACT FROM AUTHOR]

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.