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Murmured ConversationsA Treatise on Poetry and Buddhism by the Poet-Monk Shinkei$
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Esperanza Ramirez-Christensen

Print publication date: 2008

Print ISBN-13: 9780804748636

Published to Stanford Scholarship Online: June 2013

DOI: 10.11126/stanford/9780804748636.001.0001

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PRINTED FROM STANFORD SCHOLARSHIP ONLINE (www.stanford.universitypressscholarship.com). (c) Copyright Stanford University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in SSO for personal use (for details see http://www.stanford.universitypressscholarship.com/page/privacy-policy).date: 21 November 2017

Plagiarism

Plagiarism

Chapter:
(p.86) Twenty-Nine Plagiarism
Source:
Murmured Conversations
Publisher:
Stanford University Press
DOI:10.11126/stanford/9780804748636.003.0030

One commits plagiarism (dōrui) when he/she copies the exact or closely similar words or conception of a poem. Plagiarism was not allowed in waka, renga, and later haikai, although it was widespread in popular renga circles. Plagiarism is different from the sanctioned practice of allusive variation (honkadori), one of the established techniques of linking in renga and a favorite device with the Shinkokinshū poets. While plagiarism is intended to surreptitiously take the words or conception of another work and pass them off as one's own, allusive variation is a creative process whose effect depends on the audience's knowledge of the earlier work. In this chapter of Sasamegoto, the distinction between outright plagiarism and coincidental similarity is illustrated, respectively, by the anonymous takeoffs on Shinkei's hokku and the similar verses by the two contemporary poets Sōzei and Chiun.

Keywords:   dōrui, plagiarism, allusive variation, honkadori, Shinkei, hokku, Japanese poetry, renga, Sōzei, Chiun

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