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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]

The author presents a criticism of the work of English writer Edward Dannreuther. He mentions Dannreuther's borrowings from the works of poet Algernon Swinburne as a form of literary imitation, Swinburne's critical perspective, and Dannreuther's literary and aesthetic style as influenced by Swinburne.

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.

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The article discusses the literary device of imitation in ancient Greek literature and its influence on modern literature. It describes the philosopher Aristotle's views on imitation in epic poetry in the book "Poetics," the philosopher Horace's views on imagination and imitation in the book "Ars Poetica," and the author Lucilius' understanding of the role of rhythm and metre on imitation in literature.

This article focuses on American novelist John Monk Saunders who is considered an inept imitator of literary styles of novelist Ernest Hemingway and has published the novel entitled "Single Lady" in 1931. Screenwriter Stephen Longstreet calls the novel "Single Lady" a plagiarism whose scene for scene at times, character for character in certain sections imitates the work of Hemingway' structure and themes. Longstreet agrees that the novel is pure self-delusion for brusqueness with enough commercialism to make possible its theme but failed to reproduce Hemingway's clipped-but-complex dialogue.

The article discusses the imitation of Spanish literature in Latin America through the works of Mariano José de Larra (writing under the pseudonym Fígaro) and Argentine writer Juan Bautista Alberdi (writing as Figarillo). The author questions the role of the imitator and their ability to fully "possess" their works and truly call them their own. The author then discusses the origin of the name "Fígaro" which not only is related to Spain through the opera "The Barber of Seville" by Pierre Beaumarchais, but is also a famous Parisian newspaper "Le Figaro."

This article focuses on the views of the author regarding writer Quintus Ennius's dream of wisdom with special reference to the latter's work "Annales." The author opines that Ennius's dream of wisdom can be understood to domesticate the figure of Pythagoras, transforming him from a mystical sage into a legitimator of Roman aristocratic. He further opines that imitation is present in repetition of Ennius's act of intervention and in citation of his example.

Copyright of Target: International Journal on Translation Studies is the property of John Benjamins Publishing Co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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 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 article presents an essay parodying and imitating "On Thumbs," by Michel de Montaigne, by providing several points of commentary on the word "bum" and its several connotations. Subjects discussed include references to various forms of laziness, to the body part, and as a euphemism for "unfortunate."