Literary Imitation Research Articles

Literary Imitation in Three Poems Attributed to Tahirih Qurrat al-ʿAyn

Abstract Throughout both modern and contemporary periods of Iranian poetry, the figure of Tahirih Qurrat al-ʿAyn as a poet has been largely ignored, while some focus has been placed upon her historical roles. Although a large part of this active disregard for her poetry has undoubtedly stemmed from politico-religious intolerance, it has also partially resulted from a lack of detailed information and primary sources. This article advances our understanding of Tahirih the poet by comparing three of the most famous poems attributed to her – “Ay ʿāshiqān, ay ʿāshiqān shud āshikārā wajh-i ḥaqq,” “Ay bi sar-i zulf-i tu sawdā-yi man,” and “Jadhabāt shawqik uljimat bi-salāsil al-ghamm wa-l-balā” – all of which are “literary imitations” (istiqbāl), with the original pieces composed by Rumi, Hātif, and Jāmī, respectively. By comparing Tahirih’s poems with the previous pieces, we gain access to the subtleties and nuances that inform us about the poetic persona of this historical figure.

The Feminine Irony of God

Abstract It is not by chance that one of the most radical and enigmatic speeches in Erasmus’ production—the Encomium Moriae—was pronounced by a female character: Folly. This paper aims at interrogating Erasmus’ text not simply as the result of a carnivalesque spirit of suspension and derision of traditional order, or as a literary imitation of ancient satire, but as the expression of an original type of speech, serious from a religious point of view, that proposes itself as the alternative of the ‘male’ theological-philosophical logos, which it mocks. The Pauline and apocalyptic logic of the catastrophic inversion of the world’s values is reinterpreted by Erasmus in an Origenian lens as the revelation of the immense yet ‘foolish’ divine mercy that forgives everyone. Folly’s speech thus both condemns and forgives the foolishness of human sin. This paper will highlight both the corrosive and secularising potential of Erasmus’ scepticism, which harshly deconstructs the dogmatic naivety of human beliefs and attitudes, conceived as sin and therefore as foolishness; and Folly’s ironic exaltation of the world’s foolishness as redeemed by the maternal, ‘feminine’ and universal embrace of God’s forgiveness.

DISCOURSE STRATEGIES MARKERS IN A. CHEKHOV’s PLAYS “THREE SISTERS” AND “THE SEAGULL” AND WAYS OF TRANSLATION INTO PORTUGUESE

A. Chekhov’s plays “Three sisters” and “The Seagull” are characterized by at least one linguistic innovation: the speech of the characters is as close as possible to colloquial speech, typical for educated people. The absence of a traditional plot and the characters’ vivid and natural, “non-theatrical” speech provide for the conventional, spoken stylistic coloring of the text. However, the spoken Russian discourse, in contrast to its artificial literary imitation, has a wide range of pragmatic means that specify the discourse strategies of speakers. For example, in Russian, unlike in Brazilian Portuguese, the speaker often presupposes some part of the information without explicitly articulating it by lexically determined means, and in this way one marks his or her actual discourse strategy. By using non-descriptive lexis one can also form implicit value judgements or mark the involvement in some actions on the part of their non-participants. Such lexical means are usually language-specific, which makes their translation a really intricate task (if possible at all), which results in discrepancies between the original text and its translations. This fact by no means undermines the translator’s mission; it just highlights the difference in discourse structuring patterns that exist in different languages.

Between authority and (in)authenticity: How literary canons shaped jus gentium

AbstractIn this article, I will show how literary imitation qualifies as a specific mode of transmission of jus gentium texts and ideas. Focusing on this specific angle allows us to see how Gentili and Grotius were not just literary erudites, using poetic references to craft their own international legal arguments; they professionalized the use of literary canons in such a way that they became constitutive of jus gentium as a discipline. Canonical references were transmitted through marginalia, the printed annotations we find abundantly in the margins of their texts, and that constituted for at least two centuries the argumentative structure of how jus gentium was written. Thus, a parallel legal history unfolds between the lines of marginalia, a story made of textual interpretations, omissions, and intentional interpolations. I will offer a concrete example of this textual machinery at play, namely Gentili’s and Grotius’ discussion of the same passage from Virgil’s Aeneid. The passage in question, known by literary historians as the ‘Helen episode’, is a case of contested Virgilian authority. The ‘Helen episode’, regardless of its textual reliability, is used by Gentili and Grotius to make a specific claim: that women cannot legally qualify as enemies under the law of nations. Such a story is particularly revealing, as it allows us to acknowledge the jurisgenetic role of literary canons, as well as their powerful role in the production of arguments of order that became constitutive of international law.

Reading by Pieces: Heliodorus, Sir Philip Sidney, and the Model of Romance

Abstract In The Model of Poesy, William Scott asserts that Sir Philip Sidney ‘did imitate’ Heliodorus’s Aethiopika in ‘the general gate of conveyance’ when he wrote The Countess of Pembroke’s Arcadia. Sidney’s engagement with Heliodorus’s fourth-century prose fiction has long been recognized, especially in relation to the revised and composite versions of the Arcadia that appeared in print during the 1590s. Nevertheless, the close relationship between Heliodorus and Sidney’s text has rarely been viewed in the broader context of the Aethiopika’s sixteenth-century reception and has never been taken seriously as an instance of literary imitation. This essay returns to Renaissance debates over the propriety of prose epic to explore the background to Sidney’s Defence of Poesy and Arcadia and examines neglected sources on the Aethiopika which shed new light on how Heliodorus was reconciled with existing systems of poetics. The discussion explores how Sidney’s education in European Protestant circles taught him to think about literary imitation in ways that made him especially receptive to other sixteenth-century approaches to the Aethiopika, and proposes that he saw imitatio and mimēsis as closely connected. In addition, it considers how Scott used Heliodorus’s text as a critical tool with which to read the Arcadia, and suggests that Martin Crusius may have exerted a subtle yet significant influence on the Model. Finally, in showing how the Arcadia adapts the narrative form of Heliodorus’s text, the essay assesses the intricacy of Sidney’s imitative technique.

Перевод и подражание польской поэзии в русской литературной культуре начала XIX века

The article deals with literary imitations of Polish poetry (the works by F. M. Ryndovsky, O. M. Somov, A. V. Sklabovsky), that made an impact on the formation of the language of their times. The works by K. F. Ryleev stand apart in the history of the Polish-Russian literary relations; he had enriched the Russian literature with a new genre of civic poetry, the Russian Duma, which emerged as a literary genre through the imitation of the Historical Songs of the Polish poet Yu. U. Nemtsevich.

Conditional clauses as polite modifiers in Latin:si placetbetween pragmaticalization and language contact

AbstractThis article investigates the Latin conditional clausesi placet‘if (it) pleases (you)’, also considering other functional equivalents such as, among others,si non piget‘if (you) don’t mind’ andsi tibi molestum/grave non est‘if (it) doesn’t bother/annoy (you)’, which all function as polite modifiers of requests and proposals. It first provides a theoretical assessment ofsi placetand examines its pragmatic functions in the history of Latin. By considering its distribution across authors and genres, it then suggests patterns of use and argues for a case of contact‐induced pragmaticalization. It is shown that the use ofsi placetas a conditional form expressing politeness is mostly attested in Cicero’s dialogues, which are largely inspired by Plato’s model, where similar forms such asei boúlei,eàn boúlēi‘if you please, if you like’ are often found in the very same contexts wheresi placetoccurs in Cicero. It is therefore suggested that this correspondence may be interpreted as the outcome of a pragmatic calque within the relevant discourse tradition of philosophical dialogue, where genre‐based conventions were probably replicated through literary imitation.

Modernism’s Rejection of Tradition through Literary Experimentation in James Joyce’s A Portrait of the Artist as a Young Man and Virginia Woolf’s Mrs. Dalloway

This paper examines literary experimentation in James Joyce’s A Portrait of the Artist as a Young Man (1916) Virginia Woolf’s Mrs. Dalloway (1925). Modernism’s rejection of pre-modern tradition lies in literary experimentation. Before embarking on answering the question, I will introduce modern literary experimentation to derive the idea home. The core conceptual appropriation of modern literary experimentation with the novels’ narrative structure which had emphasized the genuine artistic quality which corresponds to modernism’s departing point from pre-modernism. This departure is the artist experimentation with the main narrative components of the novels. Therefore, modernism has offered a technical narrative analysis of this experimentation in literature, especially the novel. Artistic experimentation yields the necessity of exposing pre-modernism’s literary decline and its possible amendment. Modern fiction relies on literary imitation of previous literary works in an almost similar manner. Modern fictional authors did not compose innovative literary forms so that they could not produce any literary genuineness. Such literary imitation has culminated in literary decline which limits the artistic creativity of fiction. In modernism, the proper agent to confront literary decline is the creative experimentation with fictional techniques to avoid such literary decline.

Young Jane Austen and the Circulation-Library Novel

Although William Lane only began publishing under the Minerva imprint in 1790, by the end of that decade he had—thanks to his ongoing publication of gothic romances written in imitation of Ann Radcliffe, his recruitment of unknown women authors, and his innovative marketing strategies—eclipsed the competition. Before the Minerva era began, however, one of Lane’s major competitors in the field of circulation-library formula fiction, Thomas Hookham, published several novels that were important to Jane Austen’s juvenilia, including the three this essay focuses on: Ann Radcliffe’s Castles of Athlin and Dunbayne (1789) and two by Eliza Nugent Bromley, Laura and Augustus (1784) and The History of Sir Charles Bentinck and Louisa Cavendish (178/1789?). In addition, because advertisements, catalogues, and other reading lists were important to readers and self-fashioning important to the aspiring young author, besides these primary texts I also consider associated paratexts. These include titles and dedications in Austen’s case and, in Hookham’s case, a list of “Books Printed by T. Hookham,” which appears inside Athlin and Dunbayne immediately following the title page, where any reader must notice it. Although we cannot know for sure, it is possible that this particular list directly influenced Austen’s (and the Austen family’s) choice of reading material in 1789 as well as Austen’s subsequent choice of satiric targets for “Love and Freindship.” In any case, the very possibility that she paid such close attention to Hookham’s list of “Books Printed” prompts a careful consideration of what the juvenilia may reveal about her reading process, her youthful understanding of circulation-library publishers’ marketing strategies and materials, and her response to the model of authorship they promoted.
 Taken together, these texts and paratexts strongly suggest that the teenaged Austen appreciated the practical use of lists like the one found in “Books Printed” and made good use of them as a reader who was committed to mastering generic conventions, but that she also parodied their rhetoric in her own titles and dedications; they suggest, moreover, that she appreciated the pleasurable recognition of the familiar enjoyed by readers of circulation-library publisher’s formulaic fiction but was skeptical about certain aspects of the reading and writing networks that such publishers’ marketing strategies were designed to produce. After all, one of the targets of her satire in “Love and Freindship” is quixotic young ladies who, like this epistolary novel’s narrator Laura, set out on the road of literary imitation and end up both disappointing and disappointed.

On literary imitations of two imperative poems by Joseph Brodsky

This article concentrates on the problem of literary interactions. It studies connections between Joseph Brodskys imperative poems Ne vykhodi iz komnaty (Dont leave your room, 1970) and Nazidanie (Cautionary Advice, 1987), and their imitations. Those imitations were composed by both amateur and professional authors. The research objective is to define the character of similarities, the latter being mainly manifested at the rhythmic, speech and ideological levels. The methodology is based upon an empirical approach to the text; the specific methods are prosody analysis, comparative analysis, analysis of the motive structure. Two types of imitation of the said pre-texts are distinguished in the study. The first one is reflective feeble imitation represented by amateur texts written by web authors. Amateur poets create simplified variations of Ne vykhodi iz komnaty that became a lockdown hymn in the spring of 2020. Conscious support of a renowned poets work seems to legitimate creation of an amateur piece with its further placement on the web. The other type of imitation is a poetic dialogue. In spite of the fact that the author mainly employs ready-made compositional and speech patterns and lyrical and narrative motives, he develops and combines them in his own manner. M. Vatutinas poem S chuzhimi ne razgovarivai, zhizn u tebya odna (Dont talk to strangers, youve got just the only one life) may be viewed as a rhythmic and semantic paraphrase of Brodskys Nazidanie followed by definite transformations. Conceivably it cannot be referred to the so-called secondary texts in spite of its strong connection to Brodskys poems.

Alchemical stanzaic poetry (muwashshaḥ) by Ibn Arfaʿ Raʾs (fl. twelfth century)

Abstract The twelfth-century alchemist Ibn Arfaʿ Raʾs is best known for his collection (dīwān) of alchemical poems entitled Shudhūr al-dhahab (“The Splinters of Gold”). However, he is also credited with other works, including stanzaic poetry (muwashshaḥāt) on alchemy. This paper presents the current state of the scholarship concerning life and works of Ibn Arfaʿ Raʾs, and then focuses on three strophic poems attributed to this alchemist. It includes first editions and English translations of all three poems, and argues that at least two of the poems are likely to have been authored by Ibn Arfaʿ Raʾs, while one is a literary imitation (muʿāraḍa) and therefore probably not a work of Ibn Arfaʿ Raʾs himself. Furthermore, the article discusses the literary features of the poems as well as their historical contexts and their – somewhat limited – reception. This also allows us to think of Ibn Arfaʿ Raʾs in a less regional Andalusī-Maghribī context, and consider if he perhaps moved east at some point of his life, which would explain the reception history of his poems, both those included in the dīwān and the muwashshaḥāt.

Drip the role and importance of tradition in literary succession (on the example of the work of abdullaqahhor)

The centuries-old vast and inexhaustible treasure trove of Uzbek literature has served as a basis for the emergence of the artistic potential of countless famous prose writers, playwrights and poets. In this article, the relationship of inheritance and tradition in fiction, the role of national and world literary experience in the development of Uzbek literature, traditions and innovations, literary communication and literary influence, creative use of traditions in the development of national literature, literary imitation and the artistic and aesthetic laws that apply in the process of renewal are revealed in the work of Abdulla Qahhor. The article is intended for philologists dealing with various issues offiction and a wide range of readers interested in art.

Poetics or Homiletics? Hearing and Feeling the New Testament in Erasmus’ Paraphrases

Abstract One of the unique homiletic challenges of the Erasmian paraphrase is the transmission of faith in divine matters from the page to the reader’s mind. By which form of imitation is the acquisition of faith by the disciples and their communities not only cognitively understood by, but also imitated in the reader’s mind? Constituting what can be called a poetics of Erasmus’ paraphrastic writing, questions of literary imitation and transmission are exemplified in his enrichment of the sensorial and emotional aspects of the biblical narrative. This essay examines instances where the biblical text highlights the disciples’ witnessing of Jesus both in earthly life and as a risen but living presence. Such instances lead to paraphrastic developments that exemplify reader-oriented imitation by instrumentalizing the senses, in particular hearing and touch, to steer the reader’s inner affective response, and thus to facilitate the acquisition of faith. Although sight is not neglected, I argue that in this process hearing and feeling (both as touch and emotion) are poetically and homiletically privileged to lodge the holy Word in the innermost affective sanctuary of a community of readers and listeners over time who, unlike the witnessing disciples, can no longer see, hear, and touch Christ.

Even Better than the Real Thing? Victorian Literary Imitations

Even Better than the Real Thing? Victorian Literary Imitations

The politeness formulasi placetin Late Latin: on the role of pragmatic conventions in discourse traditions

AbstractThis paper analyzes uses, functions, and literary distribution of the negative politeness formulasi placet‘(lit.) if it pleases (you)’ in a corpus of Late Latin texts (third–sixth century CE). Drawing on both qualitative and quantitative observations, it is suggested that the pragmatic enrichment undergone by this conditional parenthetical clause is due to a conspiracy of factors, namely a process of semantic and pragmatic change fostered by a “politeness-induced invited inference” (Beeching 2005), which was triggered by a general process of literary imitation within the very specific discourse tradition of philosophical dialogues. The analysis shows, indeed, thatsi placetis very rarely used in the history of Latin and it is circumscribed to this specific literary genre. This suggests that this politeness formula developed as a genre-specific stylistic feature and as such it was replicated over centuries through the circulation of textual models and the propagation of genre-related practices, as a valuable linguistic device to render the idea of an urbane conversation among educated peers and, ultimately, as a marker of socio-cultural identity.

The Arts of Imitation in Latin Prose: Pliny's Epistles/Quintilian in Brief by Christopher Whitton

BOOK REVIEWS/COMPTES RENDUS 175 ship, for example, the author’s overstressing of fertility as an interpretative paradigm of women’s religion.5 As Meghan DiLuzio has noted, Boëls-Janssen overemphasises the role of the priestess Flaminica Dialis as a “fertility talisman.”6 Interpreting fertility as a function of many women’s rituals and of many gods and goddesses is indeed too generalising. Therefore, Panoussi should have been more cautious in basing her interpretations on Boëls-Janssen’s conclusions (Bacchus as a fertility god, 20; descriptions of rituals of Bona Dea, Fortuna Muliebris, and Mater Matuta as showcasing the value of female sexuality and fertility, 172). Furthermore, taking for granted Tacitus’ and Suetonius’ presentation of the emperor Nero as a bride or a groom in his weddings with two cinaedi (76–77) is problematic, since both authors severely distort the portrayals of the Roman emperors in order to undermine their masculinity along with the political system that enabled such “bad” emperors to rule in Rome. It would be much more fruitful to query how and with what aims Tacitus and Suetonius introduced compromising elements from Petronius’ satirical representation of the wedding of Giton and Pannychis, as discussed by Panoussi (66–74), into their depiction of Nero’s alleged homosexual weddings.7 A more intensive scholarly dialogue with recent literature on the religions of Rome would have also allowed Panoussi to address other problematic points in the reconstruction of Roman rituals and their literary representations, for instance her assumption that a holy marriage was usually a part of mystery cults (75). Nevertheless, Brides, Mourners, Bacchae: Women’s Rituals in Roman Literature is a thought-provoking read for students and scholars, offering complex discussions of multiple levels of representations of gender, ethnicity, and women’s rituals in Roman literature. Humboldt University Berlin Darja Ï Sterbenc Erker The Arts of Imitation in Latin Prose: Pliny's EPISTLES/Quintilian in Brief. By Christopher Whitton. Cambridge: Cambridge University Press. 2019. Pp. xviii, 557. Although the phenomenon of poetic intertextuality has been extensively discussed during the last three decades, that of prose intertextuality has yet to receive similar attention. Whitton’s learned book is an excellent contribution in this direction. It focuses on Pliny’s intertextual debt to Quintilian’s Institutio oratoria in his Epistles, which up until now had gone largely unnoticed, but at the same time it also examines many other aspects of Plinian intertextuality, including echoes of a variety of Greek and Latin authors. As a result, the value of this original and thought-provoking study lies not only in its exploration of Quintilian’s reception by his pupil and in the new light it sheds on the artistry of Pliny’s Epistles, but also, more broadly, in significantly improving our understanding of Roman rhetorical culture, prose intertextuality, and literary imitation. 5 N. Boëls-Janssen, La vie religieuse des matrones dans la Rome archaı̈que (Rome 1993). 6 M. DiLuzio, A Place at the Altar: Priestesses in Republican Rome (Princeton 2016) 23, n. 33. 7 Tacitus sought to shock his readers by depicting transgressions of gender norms in his portrayals of the emperors. Cf. Thomas Späth, “Skrupellose Herrscherin? Das Bild der Agrippina minor bei Tacitus,” in id. and B. Wagner-Hasel (eds.), Frauenwelten in der Antike: Geschlechterordnung und weibliche Lebenspraxis (Darmstadt 2000) 271. 176 PHOENIX The book starts with a few pages (xii–xvii) that present its aims and dispositio in lieu of a preface; in the following twelve chapters Whitton examines thematic clusters in Pliny’s Epistles that demonstrate his textual and ethical imitation of his teacher’s work. The first two chapters, entitled “Two Scenes from the Life of an Artist” (1–19) and “Setting the Stage” (20–68) respectively, play an introductory role. Chapter One convincingly establishes Quintilian’s intertextual presence in two letters of Pliny’s self-portrait (Ep. 1.6 and 9.36), where the latter meticulously, subtly, and minutely blends, reworks, and modifies aspects of Quintilian’s advice on writing (especially on dictation and country composition). Chapter Two, which serves as prolegomena, presents and compares the two protagonists as individuals and as authors (with the help of Ep. 2.14, 4.11, 4.13...

From the Latin short story to the Russian spiritual verse: From the history of one folk plot

The article considers the history of the poetic versions of the plot of “The Enchanted Monk” in the Russian poetic tradition. These versions were not previously subjected to a special study. In the article, the poetic versions of the plot are arranged in chronological order among the entire corpus of literary and folk texts, a brief historical commentary is provided to each text, the verse of each text is analyzed, and a picture of the history of the plot in its poetic form is presented. The methodology of the research includes the elements of the “Russian method” (quantitative assessment of verse parameters, rhythmical analysis, etc.). In certain cases, a semantic interpretation of the meter is used. The metre and rhythm of the poetic versions are considered in the historical and cultural context, against the background of the poetic tradition. The main points in the poetic history of the text are as follows: literary syllabic verse (17th century); transitional poetic and prosaic forms (18th century); the first trochaic literary imitations of a folk verse (18th century); classical iambic tetrameter (19th century); free iamb in a literary translation with a predominance of five-footed lines (20th century); four-footed amphibrach in the folk tradition (20thcentury). An attempt is made to identify the literary source of the origin of the four-footed amphibrach in folk verse: such a source was probably the Russian ballad verse at the beginning of the 19th century.

Allegories of Influence: Spenser, Chaucer and Italian Romance

This essay reflects upon Renaissance writers' self-reflexive meditations on literary genealogy, by examining Edmund Spenser's allusive interrogation of his relationship to Chaucer on the one hand, and to Boiardo and Ariosto, on the other in Book IV of The Faerie Queene. Focusing on the emblematic tale of Cambell and Triamond, and its striking resolution by the introduction of Cambina, a romance enchantress in bono, it argues that Spenser strategically moves away from metaphors of patrilineal descent and erotic triangulation to re-imagine literary imitation and influence in terms of friendship, symbolized by the tetrad. In the process, it reconsiders models for describing literary originality, inheritance, canon formation, and cross-linguistic influence.

Cognitive Function of Conceptual Metaphors in “The Raw Shark Texts” by Steven Hall

From the perspective of modern cognitive science the conceptual metaphor reflects the mental aspect of cognition and creation of a new conception of the world. Therefore, numerous researchers in the area of conceptual metaphor explored it as the understanding of one conceptual domain in terms of another, paying little attention to the role of fiction diegesis. Thus, the objective of the article is to gain a better understanding of conceptual metaphor perception in the diegesis of Steven Hall's fiction. In “The Raw Shark Texts” the conceptual worldview helps the protagonist to recreate the chronicle of his self-identification after the posttraumatic loss of memory. Human knowledge, experience and communication as well as his individual mind, ideas and thoughts are perceived by the protagonist’s split personality as an aquatic space inhabited by conceptual fish. His fear of the conceptual shark, feeding on his memory, generates distinctive psychedelic hydro-text in the form of specific narrative structures. The state of fear also extends to increased human dependence on technology, digital databases (on-line memory storage and loss). The discreteness of narrative diegesis emphasizes the protagonist’s frustrations and is used by the author as a literary imitation of dissociative amnesia. Besides peculiar metaphorical expressions, in the author’s visual metaphors, owing to the simultaneous implementation of the first and second planes of the metaphor content, a third plane (a new reality) arises. Comprehension of conceptual metaphors as intimately interconnected in the narrative diegesis reveals the way of creating layered, intertwined conceptual reality exemplified by the First / the Second Eric Sanderson’s narrative structures. Consequently, metaphorical expressions and visual metaphors in Steven Hall's novel are merely a manifestation of the conceptual metaphors underlying them. Reproducing the features of perception mechanisms in their interaction with psychological, the author was able to catch the common between tangible things and abstract concepts, matter and idea, to compare the incomparable. This approach allows us to consider the conceptual metaphor as a structural component of meta-fiction and to emphasize the cognition specificity of metaphor in creation of new realities in it.

IMITACJA LITERACKA W SŁUŻBIE PAMIĘCI KULTUROWEJ – ANALIZA PORÓWNAWCZA NICHIRIN RIICHI’EGO YOKOMITSU I SALAMMBÔ GUSTAVE’A FLAUBERTA

Artykuł Imitacja literacka w służbie pamięci kulturowej – analiza porównawcza „Nichirin” Yokomitsu Riichi’ego i „Salammbô” Gustave’a Flauberta poddaje analizie porównawczej dzieła dwóch tytułowych pisarzy. Pokazuje, jak Yokomitsu, zainspirowany twórczością Flauberta, imituje jego powieść, przenosząc ją na japoński grunt. Opisuje podobieństwa fabuły, bohaterów, a także zabiegów literackich – począwszy od sposobu opisu, przez użyty język, po tworzenie połączeń asocjatywnych. To ostatnie podobieństwo zostaje wykazane za pomocą badania językoznawczego z użyciem baz tekstowych. Następnie przedstawione zostaje to, w jaki sposób wszystko wymienione elementy składają się na pomnik tekstowy i jak wpływają na pamięć kulturową czytelników.