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The article focuses on French historian René Girard's philosophy of innovation, arguing that innovation and imitation are not fundamentally opposed but exist on a continuum. Topics include the historical and philosophical shifts from external to internal mediation; the critique of the dominant view of innovation as separate from imitation; and Girard's suggestion that real innovation involves a nuanced relationship with tradition, balancing imitation with mastery.

Are Fernando Pessoa’s English sonnets Shakespearean or not? This article analyzes several of Pessoa’s English sonnets from different points of view, considering concepts such as ideas and dreams, masks, things, oneness and otherness, in order to propose an answer to this question.

In his most important and most voluminous creation “The State†(Republic, Politeia), Plato included the most characteristically philosophical concepts which were an expression of his interests. Apart various fields of teaching, such metaphysics, theology, ethics, psychology, pedagogy, State system, which result from this creation, art and poetry could not go without being included as well (including the music). Otherwise, the Plato himself, in young age, except with mathematics he also dealt with poetry by believing that he is going to be more dedicated to it. But, it seems that acquaintance with the Socrates since he was 20 years old changed his mind and he was fully committed to the philosophy. His general philosophical reviews sublimating his philosophical ideas, which arise on the basis of the idea, as an alpha and omega of every human been in the world, took Plato away from poetry by making him more and more torrential in philosophy and more and more critical, even more cynical towards the poetry. Key words: Plato, Aesthetics, Poetry, Idea, The beauty, Ideal, Philosophy, Time, Creation, Culture, Imitation, Dialogue, Literature.

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]

Copyright of Nueva Revista de Filología Hispánica is the property of El Colegio de Mexico AC 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.)

The report examines some features of the functioning of the «school of readers» of Anna Akhmatova’s poetry: the tendency to intersect social and aesthetic demarcation lines, a constant idea of obligation to imitate Akhmatova’s poetry, the functioning of quotations from her poems as memes and the tendency to evolve them into a new narration in verses.

Copyright of Renaissance & Reformation / Renaissance et Réforme is the property of Iter Canada 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.)

Copyright of Alpha: Revista de Artes, Letras y Filosofía is the property of Universidad de Los Lagos 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.)

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.

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]

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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 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]

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 discusses situations in which authors and poets are accused by plagiarism. Poet Alan Loney made a certain action towards the writing before and beyond the image students at the University of Melbourne in Victoria. It cited an example of Monsieur Mallarmé's literary works, wherein he usually copied the poems from a famous poet Edgar Allan Poe which found scarcely in writing plagiarism flashing.

The article presents the authors and poets perspectives regarding plagiarism practice in literary works. The authors Bernard Stiegler and Jacques Derrida have written an originary tecnicity of the Prometheus' myth, which can be read in the La Faut d'Épiméthée, as the organizing emblem of philosophy technics. Information regarding the ideas of economist Plato focusing the plagiarism principle, which relates to education, justice and politics is also discussed.

The article focuses on the cultural education principle détournement in literary works in the U.S. The organization Situationist International has made several proposals of détourned practice to integrate the artistic productions into a construction style practicing the power of appropriation. Other related topics including functional, algorithmic and counterfeit détournement are also discussed.

The article presents the author's perspectives on the plagiarism issue within the academic research of postgraduate students in the U.S. The author discusses the impact of computer software Postmodernism Generator, which was developed by computer expert Andrew Bulhak. It found that computer simulation method would generate random, meaningless and realistic-looking text from recursive grammars and transition networks.

The article focuses on the emergence of plagiarism in the literary works of various individuals. An English lawyer Robert Hargrave asserted that the act of intellectual obedience was formed when the authors need to express their ideas of identity, propriety and originality of writings. It states that the legal argumentation of Lockean and aesthetic discourse appeared in the commercial struggle of copyrighting.

The article provides information about the concept of plagiarism in Canberra, Australian Capital Territory. Based on the Supreme Court's decision, the concept is defined the appropriation or imitation of individual's ideas and passed off as one's own in his manner of art, literature and humanities. Modern Language Association (MLA) defined the term as the repetition of individual's sentences as his own manner which gives impression from the original author's ideas and writings.

The article presents the author's perspectives on the contemporary plagiarism problems on the humanities research made by postgraduate students in Great Britain. The distinction of pedagogical methods of learned music theory has been associated to the objectives and aims of the composer's experiences in doing music repetition. It states that the students must know the difference between source for consumption and method for production in the research.

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 discusses how quixotic writers on either side of the Atlantic used transformative imitative technique to address a critical issue of transnational imitation and to foreground national and gender differences. The author states that the three writing practices he discussed suggest that there is a history of writing which invites further work. The author also consider the requirements of the construction of autochthonous and original national literatures.

The article presents information on new manuscript evidence regarding writer Oscar Wilde's self-plagiarism. There are two books named "Pall Mall Gazette" and "Women's World" and his critical dialogues in writings are symbols of plagiarism. The kind of borrowing observed in the writings of Wilde is the most conspicuous example and his reuse of large portions is common. In case of Wilde's criticism, there are several extant manuscripts but hardly read by scholars. The article also describes how Wilde settled the thoughts very easily.

Imitative texts of high quality are of some importance to students of attribution, especially those who use computational methods. The authorship of such texts is always likely to be difficult to demonstrate. In some cases, the identity of the author is a question of interest to literary scholars. Even when that is not so, students of attribution face a challenge. If we cannot distinguish between original and imitation in such cases, we must always concede that an imitator may have been at work. Shamela (1741) has always been regarded as a brilliant parody. When it is subjected to our standard common-words tests of authorship, it yields mixed results. A new procedure, in which special word-lists are established according to a predetermined set of rules, proves more effective. It needs, however, to be tried in other cases. [ABSTRACT FROM AUTHOR]

Explores the character of Gnesippus in the Athenian comedy. Identification of mimic elements in the texts; Word used as a slighting description of display-oratory in the Gorgianic or Thrasmachean style; Term that refers to a collection of epigrammatic pieces of humorous character.

Discusses William Shakespeare's borrowing of accounts in Ludovico Ariosto's 'Orlando Furioso' which were not in Giraldo Cinthio's 'Hecatommithi' for his play 'Othello.' Occasions on which Shakespeare echoes Ariosto's words and phrases; Imitation of the rhythm and verse-form of 'Orlando Furioso.'

Copyright of Comprendre: Revista Catalana de Filosofía is the property of Herder Editorial S.L. 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.)

Examines an unpublished fragment of Middle English verse on King Harold, written in imitation of John Lydgate's `Verses on the Kings of England.' Inclusion of the fragment in the British Library Manuscript Cotton Julius B.xii; Highlights of the manuscript; Significance of the find for people's sense of Lydgate's repute during the later years of the 15th century.

Focuses on the use of imitation as a narrative device. Benefits derived from an imitative episode to narrators and audiences; Significance of imitation in learning human behavior; Explanation on narrative and didactic value of imitation tales; Classification of imitative episodes; Variation of imitative episode themes; Effects of narrative device.

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]

Discusses the extent of Arthur Murphy's borrowings from a 'Rambler' essay written by Samuel Johnson in the 1750s. Johnson's anonymous publication of 'Miscellaneous Observations on the Tragedy of Macbeth; Murphy's observations on the same play in the November 17, 1753 issue of the 'Gray's Inn Journal'; Murphy's apology to Johnson for having unknowingly printed the latter's essay in his periodical publication.

Discusses the importance of originality, imitation, translation and plagiarism in relation to the notions of textuality in manuscripts. Analysis of the poem 'Il Filostrato,' by Geoffrey Chaucer; Description of translation.

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]

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]

Much scholarly interest surrounding Ian McEwan's Atonement has focused on the abrupt shift that occurs in the novel's final section, "London, 1999." This essay argues that this final section makes clear that the main story of the novel is not the entanglement of Briony, Robbie, and Cecilia due to Lola's teenaged rape but, rather, Briony's development as a writer, her Künstlerroman. As such, "London, 1999" is crucial to the novel, not simply a metafictional ploy, because it illuminates the lengths to which Briony has gone in writing her final book and fulfilling her youthful promise. McEwan's response to a real-life accusation of plagiarism reinforces his depiction of Briony as an author who searches for "the telling detail," as opposed to one who cleaves to verifiable, historical accuracy. [ABSTRACT FROM AUTHOR]