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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]

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]

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 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]

During the last 50 years, descendants of Maghrebians who immigrated to France (beurs) have received French citizenship. Their societal position is paradoxical: French citizens by birth and soil, they live in French society; however, for many French de souche, they are still considered immigrants. Although the French government has a policy of assimilation, many beurs do not participate in the French way of life. They live in the projects, their children go to sub-standard schools, and beur youth unemployment rate is at least double that for the French population as a whole. Their practice of Islam alienates them further. However, while the anti-immigrant/anti-Muslim party is gaining in numbers, beur culture is increasingly a part of French culture: Arabic words have made their way into French, beur music is popular, and there is a strong beur presence in film. In this article, I will explore the portrayal of mixed-ethnicity couples in two films, Il reste du jambon (Anne Depetrini, 2010) and Mohamed Dubois (Ernesto Ona, 2012). These films reflect a growing preoccupation with mixed couples and their conflicts, and are paradigmatic of the process of assimilation of Arabs into French culture. In the first, a beur doctor,  Djalil (Ramzy Bedia) integrates and wins a blond, middle-class French reporter; in the second, Arnaud, the son of a rich French banker renounces his French identity, and adopts an Arab heritage to win a beur policewoman. Although both are French productions, the principal beur roles may be seen as breaking through the French stereotypes of Muslims/Arabs and therefore as counter-narratives of the nation, which, according to Homi Bhabha, ‘continually evoke and erase its totalizing boundaries – both actual and conceptual – [and] disturb those ideological manoeuvres through which ‘imagined communities’ are given essentialist identities’. I suggest, however, that while the beur ‘essentialist identity’ is challenged in the films, there are strains of neo-colonialism, with its accompanying ambivalence toward the beur characters, who are subject to mimicry, which consistently maintains the position of the dominant French film-consuming culture. [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 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]

While Erving Goffman's sociology has enjoyed great popularity and is cited often, the career of his work has been largely confined to other scholars reaping, adapting, and utilizing his concepts. Goffman was opposed to science that just reproduces and orders concepts, and opposed to his students using his concepts as easy tools. Instead, he recommended they train their own horses: While there is much to use in Goffman's work, there is little scholarship that continues the genius of his practical approach. As valuable as Goffman's categories are, his collection practice and his analytical scheme may be even more valuable. On the one hand, they offer an intricate framework for research that is as open as it is directed; on the other hand, they allow researchers to argue freedom from the ever more imposing bad imitations of natural scientific method that threaten to overgrow the social sciences. Together, they allow Goffmanesque work without merely parroting his concepts. This article attempts to outline Goffman's eclectic way of collecting material and his technique for fashioning this material into analyses, reordering this material around different metaphors that make Goffman's contribution distinct. I call Goffman's practical research a flaneur approach, and outline it. The paper then makes an argument for its continuation. [ABSTRACT FROM AUTHOR]

This paper examines the topic of imitative poetry in Plato. Its aim is to determine whether, for Plato, may be a mimesis of value and consequently an acceptable mimetic poetry. For this, two sections concerning a valid Republic imitation will be analyzed. This would be based on the dialectical understanding of intelligible realities; condition that the poet can not be covered. My hypothesis is that the solution to this problem is the Platonic idea of 'design', which -derived the ideal paradigm- would be the tool for the imitator. Philo has conceptualized this tool in his idea of archetype. [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.

Johannine scholarship is divided on whether the mimetic imperative in John 13:15 calls for a literal replication of the footwashing or is a general reference to humble (loving) service. My argument is that for the author mimesis involves primarily the creative, truthful, bodily articulation of the idea and attitude that lie behind the original act rather than its exact replication. The Johannine concept of mimesis is a hermeneutical process that involves both the understanding of the original act and a resulting mimetic act that creatively but faithfully articulates this understanding. [ABSTRACT FROM AUTHOR]

Pascal Quignard draws with passion from his Latin heritage, while investigating its hidden side. His concern for the trace is manifested primarily through the complex notion ofimago, which combines memory and imagination and lies at the heart of the speculative rhetoric. This tradition is directly put in relation with a Latin spirit driven from the primitive origins of theUrbs. Quignard's writing is a metamorphosis of the Latin trace according to the principles of a rhetoric that targets the depth of thought, thetempestivitasof images, and the power of saying. The articulation between reading and writing reveals the metonymic and metaphorical functioning of his creative imitation. Quignard's search makes “the interval of the loss” the setting of an experience of the limits characterized by an exacerbated tension betweenfragmentumandcontinuum. The initiation into the mystery of the origin imposes sacrifice and requires a “virtue of completion” which makes possible a rebirth of life and art. [ABSTRACT FROM AUTHOR]

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.

A critique is presented of Roman rhetorician Seneca the Elder's works "Controversiae" and "Suasoriae," focusing on the intertextual relations of legal metaphors and Seneca's references to Latin poets Ovid and Virgil. The relationships between author, reader, and text are discussed, as well as the history of literary allusions. The difference between imitation and plagiarism is discussed, as well as legal definitions of ownership and private property.

The rubber hand illusion (RHI) is the experience of an artificial body part as being a real body part and the experience of touch coming from that artificial body part. An explanation of this illusion would take significant steps towards explaining the experience of embodiment. I present a new cognitive model to explain the RHI. I argue that the sense of embodiment arises when an online rep resentation of the candidate body part is represented as matching an offline prototype representation of what one's body is usually like. The cause of the sense of embodiment in the model body part only partially overlaps with the causes ofproprioceptive drift, which commonly accompanies the RHI, and so is compatible with observed dissociations between the illusion and proprioceptive drift. The distinguishing features of this model are the offline body representation, and the process of matching an online model to an offline model, both of which are to be understood in terms of a conceptual space. [ABSTRACT FROM AUTHOR]

The article discusses the differences between conscious and unconscious borrowing of literary and orthographic elements by writers from their own work of that of others, and examines elements in the original text of the play "Sir Thomas More" indicating either that the dramatist William Shakespeare participated in its creation or that its authors either intentionally or unintentionally imitated elements of Shakespeare's style. Questions surrounding the dating of the play, which is traditionally dated to the 1590s, are also touched on.

The article discusses the significance of using imitation in teaching poetry. According to the author, imitating contemporary poems can help develop the creative ability and critical thinking skills of students. Several poems are highlighted which include "Relax," by Ellen Bass, "The Sunflowers," by Mary Oliver and "It Is Dangerous to Read Newspapers," by Margaret Atwood. INSETS: GUIDELINES FOR CHOOSING MODEL POEMS;LINKS TO MODEL POEMS.

Miguel de Cervantes incorporó varios romances en su Don Quijote de 1605 y esta práctica fue imitada por Alonso Fernández de Avellaneda en su continuación de la novela cervantina. Entre las baladas incluidas en el "Segundo tomo del ingenioso hidalgo don Quijote de la Mancha" figura un "romance del conde Peranzules," aludido por Sancho Panza en el episodio de los melones. Avellaneda, defensor de la ortodoxia religiosa y del inmovilismo social, usó la balada para dirigir una crítica a su rival a propósito de ciertos pasajes sobre magia terapéutica del primer "Don Quijote." Es posible que el romance de Peranzules, que hasta la fecha no ha sido identificado, esté relacionado con el romance de "El conde don Pero Vélez." [ABSTRACT FROM AUTHOR]

This paper considers Oscar Wilde's 1923 appearances at séances in the home of Hester Dowden, an episode in Wilde's afterlife that informs ongoing debates about the transmission of thought in Wilde's aestheticism. I draw on Gabriel Tarde's sociology, which became known in the interlude between Wilde's death and his 1923 ghosting, in order to claim that, in Wilde's work, imitation structures even seemingly autonomous actions. For Wilde, imitation and its inescapability constitute the creative act, and in The Picture of Dorian Gray and the plays, especially The Importance of Being Earnest, Wilde offers what we might call a playful sociology of imitation. This view of artistic production rejects what Wilde calls literary mimesis in favor of an account of exuberant creativity that nonetheless affirms the inescapable influence--or the social mimesis--of other minds. [ABSTRACT FROM AUTHOR]

This essay analyzes the "indiano" character in "Tormento" and "La loca de la casa" by Benito Pérez Galdós. Utilizing in part the concepts of the stereotype, hybridity, and mimicry as theorized by Homi Bhabha, I argue that the "indiano" exposes gaps and fissures in colonial discourse present in these texts, functioning to betray anxiety about Spain's national identity and waning imperial status. Ultimately, normative constructions of metropolitan masculinity are rejected in favor of the "indiano's" embodiment of hybrid subjectivity, one with the potential to "regenerate" Spain. In "Tormento," the "indiano" is a positive figure but impossible to reconcile with the nation, while in "La loca de la casa," the indiano is presented as a viable path through which national regeneration may take place [ABSTRACT FROM AUTHOR]

The article offers the author's insights on the issue of plagiarism and imitation. The author argues borrowing of intellectual property is natural, inevitable, and normal while stealing raises indignation. The author says that artistic meaning of good involves an original and unique creation while bad is denoted by an intention to deceive.

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.

This essay examines instances of forgery in the literature of Oscar Wilde and the play "For Love of the King," which was published in 1921 by Mrs. Chan-Toon, though she attributed it to Wilde. Wilde's ideas in support of imitation as a creative act, based on theories from the Romantic period about artistic originality and aesthetic authenticity, are explored. Other topics include Wilde's literary reputation and legacy, Mrs. Chan-Toon's deceptions and the publication of "For Love of the King" and Wilde's text "De Profundis."

The article offers the author's insights on the enactment of mimicry or counterfeits in the book "Great Expectations," by Charles Dickens. The author states that the book shows the disintegration and institution of class and colonial relations in the capitalist and imperialist economies. The author contends that such depiction is associated with the acts of counterfeiting and forgery by producing disturbing imitations, destabilizing subjectivity and authoritative identities.

The article presents the summary of a conference that focused on the evidence of emulation in humanistic and vernacular cultures in Europe. It was held from April 15-17, 2010 in Munich, Germany. Topics under discussion at the conference included the reception of German humanism in Heidelberg, Germany from 1544 to 1556, figures of emulation in 16th century German novels, as well as the self-actualization of artists in the 1600s.

Abstract: Plagiarism is a form of research misconduct and a serious violation of the norms of science. It is the misrepresentation of another''s ideas or words as one''s own, without proper acknowledgement of the original source. Certain aspects of plagiarism make it less straightforward than this definition suggests. Over the past 30 years, the U.S. Federal Government has developed and refined its policies on misconduct, and Federal agencies, as well as research institutions, have established approaches to responding to allegations and instances of plagiarism. At present, efforts to avert plagiarism focus on plagiarism-detection software and instructional strategies. [Copyright &y& Elsevier]

1QHodayota 11:6-19 exemplifies some of the techniques by which an author could, successfully, imitate biblical language without, simultaneously, implying that the reuse was exegetical. Seven scriptural texts-each crafted around themes of life, death, or the sea-dictated the poem's themes and much of its vocabulary (Jonah 2:3-7; Ps 77:17-18; 107:23-27; Isa 66:7; Jer 10:13/51:16; Job 36:16-17; 41:23). The author of 1QHa 11:6-19 mimicked the biblical idiom of these sources, but, to avoid evoking the sources too clearly, the author broke up and/or adapted many of the most rare and distinctive of the borrowed locutions. In those cases where the author reused multiple locutions from a single source-text, the borrowed elements were separated from one another, scattered widely across the new poem. The outcome was a new text that reflected biblical expression and style, yet it did not offer or imply any interpretation of the sources of that style. [ABSTRACT FROM AUTHOR]

The article discusses various passages from English playwright William Shakespeare's plays that came to influence later generations of writers. Particular emphasis is given to his influence on the English dramatists and poets John Dryden, Nicholas Rowe, Thomas Otway, and Edward Young. These writers were especially influenced by passages from the plays and poems "Othello," "Sonnet 72," and "Hamlet." The importance of recollection, literary transplants, and literary imitation in the works of these writers is described.

The preface to a 16th-century Hebrew book entitled Devek Tov, a supercommentary on the Pentateuch, includes an apology by the author for not citing all his sources. In his defense, he cites a passage in the Jerusalem Talmud that discusses the obliteration phenomenon. Following the trail of Jewish sayings on the importance of citation leads to a discussion of stealing ideas, i.e., plagiarism. Details of the search process, cataloging issues, incomplete indexes, and descriptions of complex locator systems found in Hebrew texts, concordances, and full-text databases are included. This detective work led to the discovery that Devek Tov was itself obliterated by incorporation into a later commentary on the Pentateuch. [ABSTRACT FROM AUTHOR]

This essay analyzes Hemingway's strategy as a parodist of his sometime mentor, sometime enemy, Gertrude Stein. The conventional view that Hemingway parodied Stein in order to declare his artistic independence from her influential style overlooks the problem of dependence that parody inevitably raises. Hitherto unexplored manuscripts in the Hemingway Collection at the John F. Kennedy Library—letters, drafts of parodies, and even an unpublished twist on Stein, "The Autobiography of Alice B. Hemingway"—reveal Hemingway's deep ambivalence about achieving independence through imitation. [ABSTRACT FROM AUTHOR]

Bazerman's point (cf. Bazerman, this issue of RBLA) that the whole notion of plagiarism is beset with a fundamental, conceptual paradox is argued to be absolutely right as far as it goes but is shown to be only one of a plethora of inter-related paradoxes that plague the entire conceptual field. On the one hand, this makes plagiarism a concept (if at all it is one!) so very difficult to grapple with and particular cases of alleged plagiarism next to impossible to pin down with any amount of clarity or hundred per cent certainty. But on the other hand, it is perfectly reasonable to continue viewing the issue of plagiarism as an ethical one though not necessarily a moral imperative. [ABSTRACT FROM AUTHOR]

This article explores the intertextual relation between Juan de Castellanos' Elegías... and Alonso de Ercilla's La Araucana, arguing that every time Castellanos refers to Ercilla's text he does so with an iconoclastic impulse that leads him to either transform or reject the model. In this sense, the reference that presumably explains why Castellanos preferred the epic to historiography does not prove that he indeed "imitated" Ercilla, but rather reveals a crisis in the poetic practice of imitatio triggered by the debates surrounding the conquest and colonization of the New World. [ABSTRACT FROM AUTHOR]

Plagiarism is perceived to be a growing problem and universities are being required to devote increasing time and resources to combating it. Theory and research in psychology show that a thorough understanding of an individual's view of an issue or problem is an essential requirement for successful change of that person's attitudes and behaviour. This pilot study explores students' perceptions of a number of issues relating to plagiarism in an Australian university. In the pilot study, focus groups were held with students across discipline areas, year and mode of study. A thematic analysis revealed six themes of perceptions of plagiarism: confusion, fear, perceived sanctions, perceived seriousness, academic consequences and resentment. [ABSTRACT FROM AUTHOR]

The Sami author Matti Aikio from Karasjok made his debut in 1904 in Copenhagen with Kong Akab ['King Akab']. He was one of the world's earliest indigenous authors, and presented his first novel to the Norwegian public with I dyreskind ['In Hide'] in 1906. The last of a total of six novels was Bygden på elvenesset [The Parish on the Riverbank], launched posthumously in 1929. In this article I present a post-colonial reading of this last novel of his. My hypothesis is that he wrote his first Norwegian novel anew, but this time social success amongst the Sami population is dependent upon the conduct of Sami culture. All of his novels reflect upon different strategies at hand for members of an ethnic minority in times of an advancing European industry, economy and culture, heavily influenced by a social-Darwinist political and anthropological cosmology. Being the first registered Sami student of Norway, while writing his novels in Norwegian, Matti Aikio developed skills as a master of mimicry. Having experienced the importance of hybridity, he studies the limits of mimicry in his novels. This is the main project of his literary work, and with tools from post-colonial literary theories, this essay discusses the author's attitudes to the possibilities of his own ethnic culture's survival in the future. [ABSTRACT FROM AUTHOR]

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.

Student plagiarism in colleges and universities has become a controversial issue in recent years. A key problem has been the lack of reliable empirical data on the frequency, nature and extent of plagiarism in student assignments. The aim of the study described here was to provide this data. Patterns of plagiarism were tracked in two university business studies assignments involving over 500 students and over 1000 scripts. Turnitin software was used to facilitate the identification of plagiarised material in assignments. The findings confirmed some common assertions about the nature of student plagiarism but did not provide support for a number of others. [ABSTRACT FROM AUTHOR]

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.

This essay examines the implications of the use of Pat Barker of Wilfred Owen's poetry in her combatant perspective. It discusses the influences of the poetry of Owen, who was among the pre-eminent British First World War poets, in the Barker's trilogy "Regeneration." It notes that the novel depicts the relationship between Siegfried Sassoon and W. H. R. Rivers, in which Barter use Owen as a peripheral character.

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 discusses seventeenth-century landscape architect Isaac de Caus, focusing particularly on his writings and criticisms regarding his creativity, originality, and plagiarism. The author discusses mimesis and other literary conventions of the period in Great Britain and Europe, as well as the influence of the 1615 book "Les Raisons des Forces Mouvants," by Salomon de Caus, Isaac de Caus's brother as well as a notable landscape architect and engineer, on Isaac's 1644 book "Nouvelle invention de level l'eau plus hault que sa source avec quelques machines mouvantes par le moyen de Veau, et un discours de la conduite d'icelle."

This article offers a close reading of Juan de Espinosa Medrano's three-act play El amar su propia muerte in relation both to the author's theatrical models in Spain and to his particular preoccupations as a Peruvian intellectual aware of his secondary position vis-à-vis Spanish cultural centrality. Following the practices of baroque imitatio, Espinosa Medrano succeeded in bringing together the multiple conventions and subgenres of the comedia nueva in such a way that he not only demonstrated a totalizing assimilation of his models but also interrogated their underlying logical structures. The result is an allegory of ingeniousness linked to the author's overall project, made more explicit in such works as his famous Apologético en favor de Góngora, of Creole intellectual vindication. [ABSTRACT FROM AUTHOR]

Shakespeare's Titus Andronicus critically engages and enacts teachings and patterns of emulation, including those of Quintilian, Roger Ascham, and other contemporary humanists and playwrights, pressing emulation's uses to extremes that suggest that imitative self-fashioning potentially results in monstrous or fragmented characters, decisions, and texts. The professed aim of the grammar-school education, the ability to judge well, is conflicted by Titus's exposure of judgment as itself a contested concept, locked within a circularity of inter textual precedents. Titus's excessive, even parodic, repetition of emulative strategies acts as a rebuttal of seemingly straightforward humanist models of character, judgment, self and decorum. [ABSTRACT FROM AUTHOR]

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," (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 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.