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Mimesis in Contemporary Theory: An interdisciplinary approach
After almost two hundred years of relative obscurity mimesis finds itself again in the limelight of Western theoretical discourse. In the Anglo-American tradition, mimesis or ‘imitation’ regained some prominence, at the turn of the century, through S.H. Butcher’s translation of and introduction to Aristotle’s Poetics, and , in the thirties, through the work of the Chicago school, also centered around Aristotle. More recently, mimesis looms large in the work of Auerbach, Burke and Frye. But it is only in the past decade or so, with the publication in France of the work of Barthes, Derrida, Girard, Genette, and some of their collaborators, that mimesis has again become an object of heated controversy on both sides of the Atlantic. The present collection is designed not only to bring fresh points of view to the current debate, by drawing in other theoretical developments beside the Anglo-American and the French, but also to explain why mimesis has so stubbornly haunted our civilization.
Mimesis
The classic book that has taught generations how to read Western literature More than half a century after its translation into English, Erich Auerbach’s Mimesis remains a masterpiece of literary criticism. A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depict reality has taught generations how to read Western literature. A German Jew who was forced out of his professorship at the University of Marburg in 1935, Auerbach left for Turkey, where he taught in Istanbul. There he wrote Mimesis, publishing it in German after the war. Displaced as he was, Auerbach produced a work of great erudition that contains no foot...
The Aesthetics of Mimesis
Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable conce...
Mimesis and Alterity
In his most ambitious and accomplished work to date, Michael Taussig undertakes a history of mimesis, the practice of imitation, and its relation to alterity, the opposition of Self and Other. Drawing upon such diverse sources as theories of Benjamin, Adorno and Horckheimer, research on the Cuna Indians, and theories of colonialism and postcolonialism, Taussig shows that the history of mimesis is deeply tied to colonialism, and more specifically, to the colonial trade's construction of "savages." With analysis that is vigorous, unorthodox, and often breathtaking, Taussig's cross-cultural discussion of mimesis deepens our understanding of the relationship between ethnography, racism and society.
Mimesis as Make-Believe
Representations—in visual arts and in fiction—play an important part in our lives and culture. Kendall Walton presents here a theory of the nature of representation, which illuminates its many varieties and goes a long way toward explaining its importance. Drawing analogies to children’s make believe activities, Walton constructs a theory that addresses a broad range of issues: the distinction between fiction and nonfiction, how depiction differs from description, the notion of points of view in the arts, and what it means for one work to be more “realistic” than another. He explores the relation between appreciation and criticism, the character of emotional reactions to literary a...
Mimesis
A topic that has become increasingly central to the study of art, performance and literature, the term mimesis has long been used to refer to the relationship between an image and its ‘real’ original. However, recent theorists have extended the concept, highlighting new perspectives on key concerns, such as the nature of identity. Matt Potolsky presents a clear introduction to this potentially daunting concept, examining: the foundations of mimetic theory in ancient philosophy, from Plato to Aristotle three key versions of mimesis: imitatio or rhetorical imitation, theatre and theatricality, and artistic realism the position of mimesis in modern theories of identity and culture, through theorists such as Freud, Lacan, Girard and Baudrillard the possible future of mimetic theory in the concept of ‘memes’, which connects evolutionary biology and theories of cultural reproduction. A multidisciplinary study of a term rapidly returning to the forefront of contemporary theory, Mimesis is a welcome guide for readers in such fields as literature, performance and cultural studies.
Mimesis
Donated by Sydney Harris.
Mimesis
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Rethinking Mimesis
Literary mimesis is an age-old concept which has been variously interpreted and at times highly contested, and which has recently been brought back to the forefront of scholarly interest. The debate around mimesis has been reactivated by approaches that re-evaluate its meaning both in the ancient texts in which it first appeared, and in the contemporary discussions of the power of literary representation. This volume presents a selection of central contributions to both the theoretical debate on mimesis and to its up-to-date critical practice. This volume approaches mimesis by emphasising the principles of knowledge, understanding and imagination that have been associated with mimesis since ...
Modernism and Mimesis
This book offers a bold new view of the way in which modernist fiction, painting, music, and poetry are interlinked. Dowden shows that modernism, contrary to a longstanding view, did not turn away from mimesis. Rather, modernism operates according to a deepened understanding of what mimesis is and how it works, which in turn occasions a fresh look at other related dimensions of the modernist achievement. Modernism is neither “difficult” nor elitist. Instead, it trends toward simplicity, directness, and common culture. Dowden argues that naïveté rather than highbrow sophistication was for the modernists a key artistic principle. He demonstrates that modernism, far from glorifying subjective creativity, directs itself toward healing the split between subject and object. Mimesis closes this gap by resolving representation into play and festivity.
