Chapter 5 examines the popularity of sewing shops and apprenticeships amongst fashion-conscious young women on tight budgets. Focusing on materiality, the chapter develops the book’s discussion of how uncertainty is employed in future-making strategies by considering how young women engage with counterfeit commodities and use skilful artistry to reveal – or bring forth in material form – the individuals they believe God intends them to be. Focusing on young women’s desire for bespoke clothes, which they often create for themselves after learning how to sew, the chapter highlights how young women avoid clothes sold in the market not because they are fakes or imitations of global brands but because, as mass-produced commodities, they deny young women their uniqueness and risk making them a counterfeit of someone else. As the chapter explores, making bespoke clothes that are fashionable does not depend only on individual inspiration but, ironically, requires young women to carefully imitate others’ designs. Detailing how young women make clothes by skilfully copying current trends and mirroring the contours of their own bodies, the chapter discusses the art and ethics of imitation.

This chapter analyzes Lane’s clever use of combinations of geographical, temporal and formal markers in his titles, alternative titles and subtitles to indicate to borrowers and buyers what kind of story a volume contained and explains how this book’s chapters follow and explore the taxonomy he designed. The second section describes the construction of Lane’s principal genres and the sophisticated methods of imitative writing used to compose them. These overlaid romance with realism and made repetition-with-difference a primary mode of communication to engender the Press’s characteristically innovative, modular and debating texts. The chapter concludes by using Clara Reeve’s arguments in The Progress of Romance (1785) to contrast the Aesthetics of Originality which we have inherited from the Romantics with the Aesthetics of Reuse which had been used since the Renaissance to notice and evaluate the “beauties” of imitative writing, and which ordinary readers still use today.

The chapter examines the extensive parallels between the Gospel and Epistles of John, concluding that these connections result from deliberate literary borrowing. It also presents evidence that each of these works was written by a different author and that they were written in the following order: John, 1 John, 2 John, and 3 John.

The introduction of this book articulates its central thesis: that Maddalena Casulana’s achievements are best understood as the product of a synergy between her exceptional talent and character and the intellectual context of the Querelle des femmes, which created an environment eager to support women’s creativity and value against the prevailing misogynistic ideology of the early modern period. It first traces Casulana’s presence in 18th- and 19th-century encyclopedias and then illustrates how she faded from musicological knowledge in the early twentieth century, only to be rediscovered in the late 1970s. It then lays out the analytical framework underpinning the study, which is grounded in a historicized feminist criticism informed by early modern pro-feminine discourses. Finally, the introduction delineates the three fundamental key concepts that inform the approach adopted in this study: philogyny, exemplarity, and imitation.

In this chapter, I argue, drawing primarily on passages from the Gorgias, the Republic and the Laws, that Plato understands tragedy to be, in essence, an imitation of the finest and noblest life. According to Plato, the only thing that is genuinely good and valuable is wisdom and virtue, and it is this life that tragedy imitates. This definition may seem deeply counterintuitive, lacking core tragic notions of loss, failure and suffering, but Plato would say these depend on prior conceptions of gain, success and flourishing. Ideal tragedy includes adversity, obstacles and limitations to living the best life – it is not an easy life of uninterrupted success – but it foregrounds the goodness and value of the life rather than dwelling on the obstacles. I formulate four constraints on ideal tragedy: the veridical constraint, which holds that only the life that is genuinely the best should be imitated as best; the educative constraint, which holds that tragic imitation must aim at educating the audience by encouraging them to pursue virtue and wisdom; the emotional constraint, which holds that the tragic imitation should cause appropriate and appropriately moderate emotional reactions; the political constraint, which holds that no living citizen should be portrayed as living the best life.

In this chapter, I interpret Plato’s Cratylus as an ideal comedy and argue that Plato employs the comedic technique of parody in order to expose rival methodologies as sources of ridiculous self-ignorance. Socrates’ extended parody of etymology shows that words cannot be a guide to the nature of being, since we have no reason to think that their analysis can teach us anything about reality. Etymology is, in short, a source of laughable self-ignorance because it provides its practitioners with the illusion of wisdom. Parody generally involves the use of an imitation that exaggerates or distorts some feature of the original, often in order to undermine its claim to authority. In the case of etymology, Plato’s parody not only exposes etymology as a false path to wisdom, but it also articulates specific criticisms of etymology regarding its methodology, its scope and its alleged systematicity. The function and purpose of the very long etymological section has proved highly puzzling to interpreters who are generally unsure what to make of it, and my account reveals the etymologies to be playing a central, and previously unnoticed, role in the overall argument of the dialogue. In the end, I assess the dialogue in light of the constraints on ideal comedy articulated in Chapter 1.

In this chapter, I argue, drawing primarily on passages from the Philebus, the Republic and the Laws, that Plato understands comedy to be, in essence, an imitation of laughable people, where the notion of the laughable, or to geloion, is a normative one that picks out what genuinely merits laughter, and not necessarily what people actually laugh at. According to Plato, the only thing that merits laughter is moral vice, in particular the vice of self-ignorance. I formulate four constraints on ideal comedy on Plato’s behalf: the veridical constraint, which holds that only what is genuinely laughable, that is, moral vice, should be imitated as laughable; the educative constraint, which holds that comedic imitation must aim at educating the audience by encouraging them to reject vice in their own lives; the emotional constraint, which holds that the comedic imitation should cause appropriate and appropriately moderate emotional reactions; and the political constraint, which holds that only moral and political enemies should be portrayed as laughable.

Moral heroism without virtue has implications for applied contexts, such as moral education. In this context, moral heroes have featured prominently in well-developed programs of character education. My view of moral heroism raises some problems for the design and implementation of such programs, not least because of the way that virtue thinking is embedded in them. After articulating several of those problems, I go on to explore directions in which my view might push us to reform our approaches to moral education, including by salvaging what may be salvaged from programs of character education. Recent studies in psychology provide some reason to think that approachable exemplars are more effective in motivating positive moral change than extraordinary exemplars. My view of moral heroism helps make the approachability of moral heroes more visible than the virtue approach, because it does not cast moral heroes as exemplars of hard-won virtues, but instead depicts moral heroism as an achievement that often comes amid a background of non-achievement. I suggest this is an encouraging data point for thinking that my view of moral heroism can supply an understanding of moral heroes that is not only theoretically rich and psychologically accurate but also educationally useful.

Early theories of culture tended to reject the importance of biology in explaining cultural phenomena. Instead culture was seen as a superorganism unaffected by human nature. In contrast to the view of the cultural relativists, Donald Brown argued that there are many cultural universals, and some of these might be the product of a comparatively fixed underlying human nature. Tooby and Cosmides propose that evoked culture might give rise to contingent universals, practices that are the result of mental models being sensitive to certain environmental conditions. Many evolutionists argue that many cultural practices are constrained by genes; culture exists to improve our inclusive fitness. Richerson and Boyd are more concerned with how our ability to acquire and learn culture evolved, what factors led to the ‘cultural revolution’. They argue that culture provides us with a second mode of inheritance that evolved as a way of adapting to an environment.

The early modern period witnessed an expansion of global trade that accelerated the movement of people, goods, and technologies, as well as cultural practices, languages, tastes, and ideas. This chapter examines the representation of commodities in the period by focussing on an illustrative example, coffee in early modern England, and the various literary forms to which it gave rise. It charts the passage of coffee from the Ottoman Empire to western Europe, the parallel circulation of textual material on coffee across works of travel, natural history, and natural philosophy, and the emergence of the coffeehouses and the new modes of literary sociability they produced. In doing so, it reveals the importance of this commodity to some of the most significant developments in the literary and intellectual culture of the period, including shifting conceptions of taste, fraught debates about identity and assimilation, and the invention of new forms of fiction.

Chapter 8 explores how technologies can be used to imitate and challenge the gods. Lucian’s Icaromenippus is analysed first in terms of how the text reimagines divine and human realms as mechanically bridgeable, and then for the possible theomachic implications of the protagonist’s flight. Lucian’s Icaromenippus demonstrates that technologies are integral to navigating the junction between human and divine, but there are also hints that this can be manipulated in ways that pose threats to the existing divine order. The suggestion that Menippus’ actions mark him out as a pseudo or fake god provides a useful entry point for discussion of the issue of technology as a tool for theomachy more generally in the Greek cultural imagination including in figures like Salmoneus.

Understand how children direct their own learning and learn from others; describe the importance of imitation, play, and instruction; explain how children transfer what they know across different contexts.