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An aesthetic of unoriginality shaped literary style and reader taste for decades of the nineteenth century. While critics in the twentieth century and beyond have upheld originality and innovation as essential characteristics of literary achievement, they were not features particularly prized by earlier American audiences, Claudia Stokes contends. On the contrary, readers were taught to value familiarity, traditionalism, and regularity. Literary originality was often seen as a mark of vulgar sensationalism and poor quality.In Old Style Stokes offers the first dedicated study of a forgotten nineteenth-century aesthetic, explicating the forms, practices, conventions, and uses of unoriginality. She focuses in particular on the second quarter of the century, when improvements in printing and distribution caused literary markets to become flooded with new material, and longstanding reading practices came under threat. As readers began to prefer novelty to traditional forms, advocates openly extolled unoriginality in an effort to preserve the old literary ways. Old Style examines this era of significant literary change, during which a once-dominant aesthetic started to give way to modern preferences.If writing in the old style came to be associated with elite conservatism—a linkage that contributed to its decline in the twentieth century—it also, paradoxically provided marginalized writers—people of color, white women, and members of the working class—the literary credentials they needed to enter print. Writing in the old style could affirm an aspiring author's training, command of convention, and respectability. In dismissing unoriginality as the literary purview of the untalented or unambitious, Stokes cautions, we risk overlooking something of vital importance to generations of American writers and readers.

A groundbreaking appreciation of Dylan as a literary practitioner WINNER OF THE ELIZABETH AGEE PRIZE IN AMERICAN LITERATURE The literary establishment tends to regard Bob Dylan as an intriguing, if baffling, outsider. That changed overnight when Dylan was awarded the 2016 Nobel Prize in Literature, challenging us to think of him as an integral part of our national and international literary heritage. No One to Meet: Imitation and Originality in the Songs of Bob Dylan places Dylan the artist within a long tradition of literary production and offers an innovative way of understanding his unique, and often controversial, methods of composition. In lucid prose, Raphael Falco demonstrates the similarity between what Renaissance writers called imitatio and the way Dylan borrows, digests, and transforms traditional songs. Although Dylan's lyrical postures might suggest a post-Romantic, “avant-garde” consciousness, No One to Meet shows that Dylan's creative process borrows from and creatively expands the methods used by classical and Renaissance authors. Drawing on numerous examples, including Dylan's previously unseen manuscript excerpts and archival materials, Raphael Falco illuminates how the ancient process of poetic imitation, handed down from Greco-Roman antiquity, allows us to make sense of Dylan's musical and lyrical technique. By placing Dylan firmly in the context of an age-old poetic practice, No One to Meet deepens our appreciation of Dylan's songs and allows us to celebrate him as what he truly is: a great writer.

En este libro se traza una genealogía de la escritura de mujer dentro de los contextos culturales e ideologías feministas hasta fines del siglo XX. Durante el siglo XIX, frente a una hegemonía masculina creadora de formatos literarios, discursos e imaginarios, la única alternativa estética de las escritoras fue la imitación, agregando márgenes y cuestionamientos en una mímica subversiva que denunció el lugar subalterno de la mujer. Esta estrategia escritural dio paso, en el siglo XX, a reapropiaciones y a la inscripción del cuerpo como plataforma de procesos de subjetivación y de un discurso de la sexualidad desde una perspectiva femenina que además cuestionó los paradigmas androcéntricos de la heterosexualidad, la identidad y el saber.

Revealing the web of mutual influences between nineteenth-century scientific and cultural discourses of appearance, Mimicry and Display in Victorian Literary Culture argues that Victorian science and culture biologized appearance, reimagining imitation, concealment and self-presentation as evolutionary adaptations. Exploring how studies of animal crypsis and visibility drew on artistic theory and techniques to reconceptualise nature as a realm of signs and interpretation, Abberley shows that in turn, this science complicated religious views of nature as a text of divine meanings, inspiring literary authors to rethink human appearances and perceptions through a Darwinian lens. Providing fresh insights into writers from Alfred Russel Wallace and Thomas Hardy to Oscar Wilde and Charlotte Perkins Gilman, Abberley reveals how the biology of appearance generated new understandings of deception, identity and creativity; reacted upon narrative forms such as crime fiction and the pastoral; and infused the rhetoric of cultural criticism and political activism.

In Shakespearean Cultures, René Girard's ideas on violence and the sacred inform an innovative analysis of contemporary Latin America. Castro Rocha proposes a new theoretical framework based upon the “poetics of emulation” and offers a groundbreaking approach to understanding the asymmetries of the modern world. Shakespearean cultures are those whose self-perception originates in the gaze of a hegemonic Other. The poetics of emulation is a strategy developed in situations of asymmetrical power relations. This strategy encompasses an array of procedures employed by artists, intellectuals, and writers situated at the less-favored side of such exchanges, whether they be cultural, political, or economic in nature. The framework developed in this book yields thought-provoking readings of canonical authors such as William Shakespeare, Gustave Flaubert, and Joseph Conrad. At the same time, it favors the insertion of Latin American authors into the comparative scope of world literature, and stages an unprecedented dialogue among European, North American, and Latin American readers of René Girard's work.

Building the Canon through the Classics. Imitation and Variation in Renaissance Italy (1350-1580) provides a comprehensive reappraisal of the construction of a literary canon in Renaissance Italy by exploring the multiple reuses of classical authorities. The volume reshapes current debate on the notion of canon by intertwining two perspectives: analyzing when and in what form a canon emerged, and determining the ways in which an ancient literary canon interacts with the urge to bestow a similar authority on some later and contemporaneous authors. Each chapter makes an original contribution to its selected topic, but the collective strength of the volume relies on its simultaneous appeal to readers in Italian Studies, intellectual history, comparative studies and classical reception studies.

Imitation was central to Roman culture, and a staple of Latin poetry. But it was also fundamental to prose. This book brings together two monuments of the High Empire, Quintilian's Institutio oratoria ('Training of the orator') and Pliny's Epistles, to reveal a spectacular project of textual and ethical imitation. As a young man Pliny had studied with Quintilian. In the Epistles he meticulously transforms and subsumes his teacher's masterpiece, together with poetry and prose ranging from Homer to Tacitus'Dialogus de oratoribus. In teasing apart Pliny's rich intertextual weave, this book reinterprets Quintilian through the eyes of one of his sharpest readers, radically reassesses the Epistles as a work of minute textual artistry, and makes a major intervention in scholarly debates on intertextuality, imitation and rhetorical culture at Rome. The result is a landmark study with far-reaching implications for how we read Latin literature.

Imitating Authors is a major study of the theory and practice of imitatio (the imitation of one author by another) from antiquity to the present day. It extends from early Greek texts right up to recent fictions about clones and artificial humans, and illuminates both the theory and practice of imitation. At its centre lie the imitating authors of the English Renaissance, including Ben Jonson and the most imitated imitator of them all, John Milton. Imitating Authors argues that imitation was not simply a matter of borrowing words, or of alluding to an earlier author. Imitators learnt practices from earlier writers. They imitated the structures and forms of earlier writing in ways that enabled them to create a new style which itself could be imitated. That made imitation an engine of literary change. Imitating Authors also shows how the metaphors used by theorists to explain this complex practice fed into works which were themselves imitations, and how those metaphors have come to influence present-day anxieties about imitation human beings and artificial forms of intelligence. It explores relationships between imitation and authorial style, its fraught connections with plagiarism, and how emerging ideas of genius and intellectual property changed how imitation was practised. In refreshing and jargon-free prose Burrow explains not just what imitation was in the past, but how it influences the present, and what it could be in the future. Imitating Authors includes detailed discussion of Plato, Roman rhetorical theory, Virgil, Lucretius, Petrarch, Cervantes, Ben Jonson, Milton, Pope, Wordsworth, Mary Shelley, and Kazuo Ishiguro.

„Der Text ist ein Wald, in dem der Leser der Jäger ist“ notierte Benjamin für sein Passagen-Projekt. Das Buch erschließt Benjamins Arbeitsweise erstmals ausgehend von seiner eigenen Lektürepraxis. Als lesender Jäger und Sammler durchforstete Benjamin Texte von Goethe, Marx, Kafka, Freud und vielen weiteren Autoren. Angesichts der Heterogenität seiner Quellen ist erstaunlich, dass sich in der Art seiner Lektüre methodische Eigenheiten wiederholen. Burkhardt Lindner hat diesen Zugriff auf andere Autoren als „Entwendung“ beschrieben, mit der Benjamin „den fremden Text sich anverwandelt oder abstößt und damit in die eigenen Denkerfahrungen einsenkt“. Der Band erkundet verschiedene Dimensionen dieses Verfahrens und schärft den Begriff der Entwendung durch Einzelanalysen. So werden Denk- und Schreibweisen sichtbar, die bislang nicht als ein von Benjamin werkübergreifend angewendetes Verfahren aufgearbeitet wurden.

This book examines the phenomenon of the reappearance of characters in nineteenth-century French fiction. It approaches this from a hitherto unexplored perspective: that of the twin history of the aesthetic notion of originality and the legal notion of literary property. While the reappearance of characters in the works of canonical authors such as Honoré de Balzac and Émile Zola is usually seen as a device which transforms the individual works of an author into a coherent whole, this book argues that the unprecedented systematisation of the reappearance of characters in the nineteenth century has to be seen within a wider cultural, economic, and legal context. While fictional characters are seen as original creations by their authors, from a legal point of view they are considered to be ‘ideas'which are not protected and can be appropriated by anyone. By co-examining the reappearance of characters in the work of canonical authors and their reappearances in unauthorised appropriations, such as stage adaptations and sequels, this book discusses a series of issues that have shaped our understanding of authorship, originality, and property.

En la historia cultural latinoamericana, el espectador siempre ha sido un extranjero, cuya autoridad deriva de su condición ajena. Por ello, se convierte en modelo a ser imitado y nunca cuestionado –e incluso es emulado. Este mecanismo tautológico continúa vigente. ¿Es posible bosquejar una contribución propiamente latinoamericana a la teoría mimética? Esta pregunta es el eje principal de esta obra.

In Nabokov's Mimicry of Freud: Art as Science, Teckyoung Kwon examines the manner in which Nabokov invited his readers to engage in his ongoing battle against psychoanalysis. Kwon looks at Nabokov's use of literary devices that draw upon psychology and biology, characters that either imitate Freud or Nabokov in behavior or thought, and Jamesian concepts of time, memory, and consciousness in The Defense, Despair, Lolita, Pale Fire, and Ada. As Kwon notes, the transfiguration of biological mimicry and memory into an artistic form involves numerous components, including resemblance with a difference, contingency, the double, riddles, games, play, theatricality, transgression, metamorphosis, and combinational concoction. Nabokov, as a mimic, functions as a poet who is also a scientist, while his model, Freud, operates as a scientist who is also a poet. Both writers were gifted humorists, regarding art as a formidable vehicle for the repudiation of all forms of totality. This book is recommended for scholars of psychology, literary studies, film studies, and philosophy.

In the first part of this volume on the literary technique of imitation, the author analyses Virgil's working over the text of Homer which paradoxically represents a true act of artistic originality. In the second chapter, the author reconstructs the presuppositions of a method and explores at the same time its limitations.

In the first edition of this now-classic text, Richard Peterson offered an important revaluation of the poetry of Ben Jonson and a new appreciation of the way in which the classical doctrine of imitation-the creative use of the thoughts and words of predecessors-permeates and shapes Jonson's critical ideas and his work as a whole. The publication of the original book in 1981 led to a reinterpretation of the poems and a coherent view of Jonson's philosophy; the resulting portrait of Jonson served as a corrective to earlier views based primarily on the satiric poems and plays. This second edition of Imitation and Praise in the Poems of Ben Jonson makes Peterson's important scholarship available to a new generation of scholars and students.

When we are confronted with a work of art, what is its effect on us? In contrast to post-Enlightenment conceptions, which tend to restrict themselves to aesthetic or discursive responses, the ancient Greeks and Romans often conceived works of art as having a more dynamic effect on their viewers, inspiring them to direct imitation of what they saw represented. This notion of'mimetic contagion'was a persistent and widespread mode of framing response to art across the ancient world, discernible in both popular and elevated cultural forms, yet deployed differently in various historical contexts; it is only under the specificity of a particular cultural moment's concerns that it becomes most useful as a lens for understanding how that culture is attempting to negotiate the problems of representation. After framing the phenomenon in terms general enough to be applicable across many periods, literary genres, and artistic media, this volume takes a particular literary work, Terence's Eunuch, as a starting point, both as a vivid example of this extensive pattern, and as a case study situating use of the motif within the peculiarities of a particular historical moment, in this case mid-second-century BC Rome and its anxieties about the power of art. One of the features of mimetic contagion frequently noted in this study is its capacity to render the operation of a particular work of art an emblem for the effect of representation more generally, and this is certainly the case in the Eunuch, whereby the painting at the centre of the play functions as a metatheatrical figure for the dynamics of mimesis throughout, illustrating how the concept may function as the key to a particular literary work. Although mimetic contagion is only one available Greco-Roman strategy for understanding the power of art, by offering an extended reading of a single work of literature through this lens, this volume demonstrates what ramifications closer attention to it might have for modern readers and literary criticism.

This is the first volume of a book series dedicated to'Qualitative and Quantitative Analysis of Scientific and Scholarly Communication'. Fighting plagiarism is a the top priority for STM publishing. A practical guide will importantly contribute to the awareness of the relevant communities, bringing to the surface the basic rules and examples from the literature.

This monograph takes on the question of how literary plagiarism is defined, exposed, and sanctioned in Western culture and how appropriating language assigned to another author can be considered a radical subversive act in postmodern US-American literature. While various forms of art such as music, painting, or theater have come to institutionalize appropriation as a valid mode to ventilate what authorship, originality, and the anxiety of influence may mean, the literary sphere still has a hard time acknowledging the unmarked acquisition of words, ideas, and manuscripts. The author shows how postmodern plagiarism in particular serves as a literary strategy of appropriation at the interface between literary economics, law, and theoretical discourses of literature. She investigates the complex expectations surrounding the strong link between an individual author subject and its alienable text, a link that several postmodern writers powerfully question and violate. Identifying three distinct practices of postmodern plagiarism, the book examines their specific situatedness, precepts, and subversive potential as litmus tests for the literary market, and the ongoing dynamic notion of the concepts authorship, originality, and creativity.

This book offers an alternative explanation for one of the core dilemmas of Brazilian literary criticism: the “midlife crisis” Machado de Assis underwent from 1878 to 1880, the result of which was the writing of The Posthumous Memoirs of Brás Cubas, as well as the remarkable production of his mature years—with an emphasis on his masterpiece, Dom Casmurro. At the center of this alternative explanation, Castro Rocha situates the fallout from the success enjoyed by Eça de Queirós with the publication of Cousin Basílio and Machado's two long texts condemning the author and his work. Literary and aesthetic rivalries come to the fore, allowing for a new theoretical framework based on a literary appropriation of “thick description,” the method proposed by anthropologist Clifford Geertz. From this method, Castro Rocha derives his key hypothesis: an unforeseen consequence of Machado's reaction to Eça's novel was a return to the classical notion of aemulatio, which led Machado to develop a “poetics of emulation.”

The Roman poet Ovid was one of the most-imitated classical writers of the Elizabethan age and a touchstone for generations of English writers. In The Ovidian Vogue, Daniel Moss argues that poets appropriated Ovid not just to connect with the ancient past but also to communicate and compete within late Elizabethan literary culture.Moss explains how in the 1590s rising stars like Thomas Nashe and William Shakespeare adopted Ovidian language to introduce themselves to patrons and rivals, while established figures like Edmund Spenser and Michael Drayton alluded to Ovid's works as a way to map their own poetic development. Even poets such as George Chapman, John Donne, and Ben Jonson, whose early work pointedly abandoned Ovid as cliché, could not escape his influence. Moss's research exposes the literary impulses at work in the flourishing of poetry that grappled with Ovid's cultural authority.

Computational linguistics can be used to uncover mysteries in text which are not always obvious to visual inspection. For example, the computer analysis of writing style can show who might be the true author of a text in cases of disputed authorship or suspected plagiarism. The theoretical background to authorship attribution is presented in a step by step manner, and comprehensive reviews of the field are given in two specialist areas, the writings of William Shakespeare and his contemporaries, and the various writing styles seen in religious texts. The final chapter looks at the progress computers have made in the decipherment of lost languages. This book is written for students and researchers of general linguistics, computational and corpus linguistics, and computer forensics. It will inspire future researchers to study these topics for themselves, and gives sufficient details of the methods and resources to get them started.

Shakespeare's unique status has made critics reluctant to acknowledge the extent to which some of his plays are the outcome of adaptation. In Shakespeare's Stage Traffic Janet Clare re-situates Shakespeare's dramaturgy within the flourishing and competitive theatrical trade of the late sixteenth and early seventeenth centuries. She demonstrates how Shakespeare worked with materials which had already entered the dramatic tradition, and how, in the spirit of Renaissance theory, he moulded and converted them to his own use. The book challenges the critical stance that views the Shakespeare canon as essentially self-contained, moves beyond the limitations of generic studies and argues for a more conjoined critical study of early modern plays. Each chapter focuses on specific plays and examines the networks of influence, exchange and competition which characterised stage traffic between playwrights, including Marlowe, Jonson and Fletcher. Overall, the book addresses multiple perspectives relating to authorship and text, performance and reception.

In Imitatio Christi: The Poetics of Piety in Early Modern England, Nandra Perry explores the relationship of the traditional devotional paradigm of imitatio Christi to the theory and practice of literary imitation in early modern England. While imitation has long been recognized as a central feature of the period's pedagogy and poetics, the devotional practice of imitating Christ's life and Passion has been historically regarded as a minor element in English Protestant piety. Perry reconsiders the role of the imitatio Christi not only within English devotional culture but within the broader culture of literary imitation. She traces continuities and discontinuities between sacred and secular notions of proper imitation, showing how imitation worked in both contexts to address anxieties, widespread after the Protestant Reformation, about the reliability of “fallen” human language and the epistemological value of the body and the material world.The figure of Sir Philip Sidney—Elizabethan England's premier defender of poetry and internationally recognized paragon of Christian knighthood—functions as a nexus for Perry's treatment of a wide variety of contemporary literary and religious genres, all of them concerned in one way or another with the ethical and religious implications of imitation. Throughout the Elizabethan and early Stuart periods, the Sidney legacy was appropriated by men and women, Catholics and Protestants alike, making it an especially useful vehicle for tracing the complicated relationship of imitatio Christi to the various literary, confessional, and cultural contexts within and across which it often operated. Situating her project within a generously drawn version of the Sidney “circle” allows Perry to move freely across the boundaries that often delimit treatments of early modern English piety. Her book is a call for renewed attention to the imitation of Christ as a productive category of literary analysis, one that resists overly neat distinctions between Catholic and Protestant, sacred and secular, literary art and cultural artifact.

The study of Homeric imitations in Vergil has one of the longest traditions in Western culture, starting from the very moment the Aeneid was circulated. Homeric Effects in Vergil's Narrative is the first English translation of one of the most important and influential modern studies in this tradition. In this revised and expanded edition, Alessandro Barchiesi advances innovative approaches even as he recuperates significant earlier interpretations, from Servius to G. N. Knauer.Approaching Homeric allusions in the Aeneid as'narrative effects'rather than glimpses of the creative mind of the author at work, Homeric Effects in Vergil's Narrative demonstrates how these allusions generate hesitations and questions, as well as insights and guidance, and how they participate in the creation of narrative meaning. The book also examines how layers of competing interpretations in Homer are relevant to the Aeneid, revealing again the richness of the Homeric tradition as a component of meaning in the Aeneid. Finally, Homeric Effects in Vergil's Narrative goes beyond previous studies of the Aeneid by distinguishing between two forms of Homeric intertextuality: reusing a text as an individual model or as a generic matrix.For this edition, a new chapter has been added, and in a new afterword the author puts the book in the context of changes in the study of Latin literature and intertextuality.A masterful work of classical scholarship, Homeric Effects in Vergil's Narrative also has valuable insights for the wider study of imitation, allusion, intertextuality, epic, and literary theory.

Proust, Pastiche, and the Postmodern, or Why Style Matters argues against the traditional view that Marcel Proust wrote pastiches, that is, texts that imitate the style of another author, to master his literary predecessors while sharpening his writerly quill. On the contrary, James F. Austin demonstrates that Proust's oeuvre, and In Search of Lost Time in particular, deploy pastiche to other ends: Proust's pastiches, in fact, “do things with words” to create powerful real-world effects. His works are indeed performative acts that forge social relationships, redefine our ideas of literature, and even work against oppressive political and economic discourses.Building on the “speech-act” theory of J.L. Austin, Jacques Derrida, and J. Hillis Miller, and on the postmodern theory of Fredric Jameson, this book not only elucidates the performative nature of pastiche, but also shows that the famous “Goncourt” pastiche from In Search of Lost Time has attracted so much attention because it already attained the postmodern; that is, it eliminated temporal depth and experience, transforming time itself into a nostalgic style of an era, and into the sort of aestheticized surface that came to define postmodernism decades later. To reflect this transformation of pastiche, this work rearticulates its history in France around Proust. Reconfiguring a scholastic, classically-inspired pedagogical tradition based on imitation, and breaking with the dominant satirical practice, Proust's work opened up possibilities in the twentieth century for a new kind of pastiche: playful and performative in the literary field, and postmodern in a French cinema that, as with the Goncourt pastiche, represents time as the visual style of an era, whether unreflexively in “heritage” films such as Régis Wargnier's Indochine, or discerningly in Eric Rohmer's Lady and the Duke, which uses period pictorial and painterly conventions to illustrate how the representation of history onscreen typically flattens time into style.

Trevor Cribben Merrill offers a bold reassessment of Milan Kundera's place in the contemporary canon. Harold Bloom and others have dismissed the Franco-Czech author as a maker of “period pieces” that lost currency once the Berlin Wall fell. Merrill refutes this view, revealing a previously unexplored dimension of Kundera's fiction. Building on theorist René Girard's notion of “triangular desire,” he shows that modern classics such as The Unbearable Lightness of Being and The Book of Laughter and Forgetting display a counterintuitive-and bitterly funny-understanding of human attraction.Most works of fiction (and most movies, too) depict passionate feelings as deeply authentic and spontaneous. Kundera's novels and short stories overturn this romantic dogma. A pounding heart and sweaty palms could mean that we have found “the One” at last-or they could attest to the influence of a model whose desires we are unconsciously borrowing: our amorous predilections may owe less to personal taste or physical chemistry than they do to imitative desire. At once a comprehensive survey of Kundera's novels and a witty introduction to Girard's mimetic theory, The Book of Imitation and Desire challenges our assumptions about human motive and renews our understanding of a major contemporary author.

The English Renaissance has long been considered a period with a particular focus on imitation; however, much related scholarship has misunderstood or simply marginalized the significance of emulative practices and theories in the period. This work uses the interactions of a range of English Renaissance plays with ancient and Renaissance rhetorics to analyze the conflicted uses of emulation in the period (including the theory and praxis of rhetorical imitatio, humanist notions of exemplarity, and the stage's purported ability to move spectators to emulate depicted characters). This book emphasizes the need to see emulation not as a solely (or even primarily) literary practice, but rather as a significant aspect of Renaissance culture, giving insight into notions of self, society, and the epistemologies of the period and informed by the period's own sense of theory and history. Among the individual texts examined here are Shakespeare's Titus Andronicus and Hamlet, Jonson's Catiline, and Massinger's The Roman Actor (with its strong relation to Jonson's Sejanus).

The theatre of the Italian Renaissance was directly inspired by the classical stage of Greece and Rome, and many have argued that the former imitated the latter without developing a new theatre tradition. In this book, Salvatore DiMaria investigates aspects of innovation that made Italian Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations – incuding Machiavelli's Mandragola and Clizia, Cecchi's Assiuolo, Groto's Emilia, and Dolce's Marianna – and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely.DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period.

In response to critics who charged him with plagiarism, Virgil is said to have responded that it was easier to steal Hercules'club than a line from Homer. This was to deny the allegations by implying that Virgil was no plagiarist at all, but an author who had done the hard work of making Homer's material his own. Several other texts and passages in Latin literature provide further evidence for accusations and denials of plagiarism. Plagiarism in Latin Literature explores important questions such as, how do Roman writers and speakers define the practice? And how do the accusations and denials function? Scott McGill moves between varied sources, including Terence, Martial, Seneca the Elder and Macrobius'Virgil criticism to explore these questions. In the process, he offers new insights into the history of plagiarism and related issues, including Roman notions of literary property, authorship and textual reuse.

Critical Conversations About Plagiarism is an edited collection of essays that addresses traditional, overly simplistic treatments of plagiarism by providing approaches to the topic that are complex, critical, and challenging, as well as accessible to both students and teachers.

Stefan George und sein Kreis erfahren seit geraumer Zeit starke Aufmerksamkeit. Interesse wird meist den Personen, ihren Werdegängen, ihren politischen Überzeugungen und sexuellen Präferenzen entgegengebracht. Was aber hat das mit der Produktion von Lyrik im George-Kreis zu tun? Die Autorin zeigt, dass beide Aspekte durch ein umfassendes Konzept von Nachahmung verbunden sind. In Georges Lyrik und Poetik identifiziert sie eine Nachahmungstheorie, die sowohl den sozialen Interaktionsformen des Kreises als auch seinen Gedichten zugrunde liegt. Über die stilistische Nachahmung beim Verfassen von Gedichten will der Meister seine Gefolgsleute zu ethischer Nachahmung erziehen und mittelbar auf die Erziehung des ganzen Volkes wirken. Das Buch leistet einen Brückenschlag zwischen sozialgeschichtlichen und poetologischen Ansätzen, die in der George-Forschung bisher unverbunden nebeneinanderstehen. Es versteht die soziale Kreiskonstellation als Folge poetologischer Grundanschauungen. Lyrik und Poetik des Kreises, seine weltanschaulichen und pädagogischen Konzepte sowie individualistische Gegenprogramme konkurrierender Positionen werden in eingehenden Textanalysen dargestellt.

Aujourd'hui plus que jamais en crise, la littérature en français ne semble disposer pour se perpétuer que d'un jeu subtil d'imitations, enfoui sous l'apparente diversité des textes. Chaque œuvre littéraire s'inscrit dans une chaîne, en reprenant certaines des œuvres qui la précèdent, tout en rêvant d'être un jour transmise à son tour aux générations futures. Ce faisant, elle réactualise des fragments de code déjà actualisés par d'autres textes qu'elle copie en partie tout en y laissant proliférer ses mutations, petites ou grandes : selon le taux d'importance de ces variations, on parlera de plagiat pur ou de vague influence. C'est ce qu'on pourrait appeler le principe de vie ou de survie d'une œuvre : il ne suffit pas à celle-ci d'être lue, il lui faut encore être récrite. Sans doute le taux d'intertextualité est plus fortement présent dans les œuvres du début, l'auteur s'efforçant ensuite de faire disparaître ces traces qui sentent la classe préparatoire, dans le but de se réapproprier son propre texte. Il en va de même pour le lecteur, qu'on invite ici à s'approprier les œuvres qu'il lit et à entrer ainsi à son tour dans le dialogue que mènent ces maîtres discrets qui ne se font entendre que lorsqu'on les appelle. C'est à cette fin que sont regroupés ici par paires des auteurs tant français que francophones : on suivra les démêlées scolaires d'un Rouaud, d'un Mabanckou ou d'un Chamoiseau avec Flaubert, Diderot ou Tournier, ou la fascination qu'éprouvaient à leurs débuts Le Clézio, Sartre ou Bataille pour Baudelaire (ou Rimbaud ou Proust ou Roussel), en espérant que de cette confrontation entre deux œuvres un troisième sens finisse par se dégager, aussi surprenant que s'il nous attendait au tournant.

This text is the first to examine the influence of William Morris on the artistic, literary, and ideological styles of Tennyson, Swinburne, Gissing, and Yeats. This book focuses on a selection of Morris'writings and situates them in the fields of art, culture, and society. Through Roland Barthes'approach to interpreting text, Sasso demonstrates that Tennyson, Swinburne, Gissing, and Yeats were all readers of Morris'work which in turn stimulated their own writing and infused them with desire. Sasso's goal is to show how Morris'influence caused his contemporaries to emulate his style of writing and how that style ultimately framed the mind of Victorian England.

Contributing to the growth in plagiarism studies, this timely new book highlights the impact of the allegation of plagiarism on the working lives of some of the major writers of the period, and considers plagiarism in relation to the emergence of literary copyright and the aesthetic of originality.

Royalist polemic and a sophisticated use of classical allusion are at the heart of the two 1648 volumes which are the focus of this study, yet there are striking differences in their politics and in the ways they represent their relation to poetry of the past. Pugh's study of these brilliant but neglected poets brings nuance to our understanding of literary royalism, and considers the interconnections between politics and poetics. Through a series of detailed close readings revealing the complex and nuanced significance of classical allusion in individual poems, together with an historically informed consideration of the polemical force of both publishing acts, Pugh aligns the two poets with competing factions within the royalist camp. These political differences, she argues, are reflected not only in the idea of monarchy explicitly articulated in their poetry, but also in the distinctive theories of intertextuality foregrounded in each volume, Herrick's absolutism going hand-in -hand with his peculiarly transcendental image of poetic imitation as an immortal symposium, Fanshawe's constitutionalism with a distinctly humanist approach. Offering a new argument for the unity of Herrick's vast collection Hesperides, and making a case for the rehabilitation of Richard Fanshawe, this engaging book will also be of wider interest to anyone concerned with politics in seventeenth-century literature or with classical reception.