[...]significant and stimulating theoretical ideas are sometimes left in a vacuum and lose part of their potential meaning by staying outside the framework of scholarly tradition. Yet separately all of them have been known at least as long as modern poetics exists; the proposed model could benefit significantly from the recognition of the full scope of ideas and problems which surround each of its dimensions. [...]the notion of embedding, or "combined discourse, in which two voices may intermingle" (p. 17), seems to be closely related to the idea of polyphony of speech (M. Bakhtin) and to the classical analysis of Gogol's "Overcoat" by B. Eikhenbaum (though the term itself, as Hrushovski says on p. 24, "was coined in the Israeli school of poetics"). Altman, on the other hand, emphasizes the procedure of intratextural rewriting of extratextual reality. The balance between all of these components of meaning produces an extremely delicate semantic structure within which the primary semantic values of each of the components undergo dramatic transformations through their projection onto each other. [...]omitting even one of those factors could result not only in simplification and reduction of the model (as happens in the case of semiotic systems with permanently established signs, such as language or literary texts), but in the total destruction of the whole mechanism of musical signification.