Thematische Bibliographien / Mimesis in literature

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Mimesis in literature“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 1. August 2024

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Zeitschriftenartikel zum Thema "Mimesis in literature"

1

Mitosek, Zofia. „Mimesis - między udawaniem a referencją“. Przestrzenie Teorii, Nr. 1 (15.02.2007): 25–46. http://dx.doi.org/10.14746/pt.2002.1.2.

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This study reformulates the old problem of mimesis in the spirit of pragmatics. It treats similarity as as a subjective-objective relation. Comparison of the conception of formal mimetism and literature as pretending of actual acts of speech leads to a conclusion on the asymmetry of these two modern applications of the category of mimesis. The first one attempts at restricting its use, the second attempts at globalisation, a kind of which is pragmatisation. Conception of mimesis as pretending strengthens the objective characterisation of categories. The function of convention is emphasised, which determines either the mimetic or referential reading of a text, which becomes particularly important in the reading of documentary and paradocumentary literature where we have to do with a permanent asymmetry of the sender's expectations and of the recipient's reactions. Attempts at defining mimesis in terms of cognitivist theories are conducive to pragmatisation of categories where the mental effects of a literary representation are involved, and the similarity is defined as closeness of a text and perceptual schemes located in the recipient's brain. All these processes lead to the questioning of mimesis as a palpable property in the structure of the text, stressing the reader's and the reading's role in the constitution of the mimetic effect.
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Almeida, Marcos Vinícius. „A literatura como desvio“. Jangada: crítica | literatura | artes, Nr. 8 (01.05.2018): 190–97. http://dx.doi.org/10.35921/jangada.v0i8.127.

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Resumo: O presente ensaio levanta o problema clássico da mimese a partir da leitura do primeiro capítulo de São Bernardo, de Graciliano Ramos. O entendimento é que esse conceito, desde Platão e Aristóteles, apesar de uma visão distinta, não se refere a uma cópia idêntica de uma determinada essência ou objeto. Há, desde sempre, um desvio no processo mimético. E é justamente esse desvio a característica fundamental do texto literário. Palavras-chave: mimese, Platão, Aristóteles, Literatura. ______________________Abstract: This paper raises the classic problem of mimesis from reading the first chapter of São Bernardo, by Graciliano Ramos. The understanding is that this concept, since Plato and Aristotle, despite a distinct view, does not refer to an identical copy of a given substance or object. There has always been a shift in mimetic process. And it is precisely this shift the fundamental characteristic of the literary text. Keywords: mimesis, Plato, Aristotle, Literature
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Deriu, Fabrizio. „Mimesis and/Is/as Restoration of Behaviour“. CounterText 8, Nr. 1 (April 2022): 103–22. http://dx.doi.org/10.3366/count.2022.0259.

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In light of the paradigm shift which in Theatre Studies led to the emergence of a new (post)discipline that takes the notion of performance as its cornerstone, this essay discusses the productive convergence between mimesis and ‘restored behaviour’, namely the key process of every kind of performance in art, ritual, and ordinary life. This convergence can improve the understanding of the mimetic condition in the twenty-first century, provided we rely on a postmodern and, at the same time, pre-Platonic conception of mimesis. Even though ‘restored behaviour’ is not the same as mimesis, evidence for their proximity can be found in neuroscientist Merlin Donald’s theory of the evolution of the human mind, in which he locates a pre-verbal stage named ‘mimetic culture’. A final section draws some arguments from cognitive perspectives in evolutionary studies on literature in order to show how mimesis and performativity are likely to emerge as a pre-literary layer, confronting the present-day post-literary condition.
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Borch, Christian. „Financial Contagion in an Age of COVID-19: On Biological, Human, and Algorithmic Mimesis“. CounterText 8, Nr. 1 (April 2022): 206–26. http://dx.doi.org/10.3366/count.2022.0263.

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This article discusses the financial turmoil unleashed by the COVID-19 pandemic in March 2020. It argues that the market mayhem in which prices plummeted cannot be fully explained by real-economic factors such as uncertainty about the future global economy. Instead, I suggest analysing the events as a manifestation of financial contagion in which the mimesis of market participants becomes an independent explanatory force. In making this argument, the article returns to late nineteenth-century ideas about mimesis and social contagion as well as discussions about the collective mimesis – constitutive of a mimetic turn – that may result from social avalanches.
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Feddern, Stefan, und Andreas Kablitz. „Mimesis“. Poetica 51, Nr. 1-2 (22.09.2020): 1–84. http://dx.doi.org/10.30965/25890530-05101001.

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Abstract This article starts off from the observation of the deeply polysemic character of the term mimesis in current literary studies. On the one hand, it is used to denote a poetics of imitation which was mainly derived from the Poetics of Aristotle and was to become the predominant conception of poetry in early modern times until the advent of Romanticism. On the other hand, besides this historical meaning, mimesis has, at the same time, a systematic significance. It refers to any poetics that defines poetry as a specific representation of reality. In this sense, the poetics of realism is quite unanimously considered to be a paradigmatic example of mimetic literature. Our attempt to bring together both sides of the notion of mimesis, to connect its systematic and its historical meaning, is based on a theoretical approach developed in the first part of our study by a criticism of Wittgenstein’s notion of “family resemblance” (Familienähnlichkeit). In the second part, this theoretical model is used for an analysis of the conception of mimesis in Plato’s Republic, Aristotle’s Poetics, and Horace’s Ars poetica.
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Wolf, Philipp. „Benjamin's Mimetic Re-Turn: Language, Body, Memory“. MLN 138, Nr. 5 (Dezember 2023): 1460–80. http://dx.doi.org/10.1353/mln.2023.a922034.

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Abstract: Walter Benjamin is a crucial figure in modernist mimesis. He was highly receptive to mimetic influences and at the same time a prolific and sensitive theoretician of those experiences. He moved far beyond the traditional aesthetics of a realistic and representational mimesis and must be located within the post-Nietzschean, modernist 'mimetic turn or re-turn.' Even if occluded by modern rationality, the mimetic faculty still takes effect for Benjamin in 'non-sensuous similarities,' in poetic language, in drifting expression, the unconscious, the body and its memory. To place Benjamin within mimetic modernism I will first adumbrate what I call linguistic magic in the context of modernist literature, ethnological and linguistic theory. Secondly, I will describe the modernist fascination with the body in and through which mimesis takes place. The third and main part centers on Benjamin's theological (and magical) interest in language. It focusses on his own occupation with (linguistic) magic and his conception or 'patho-logy' of mimesis. This he locates in the body, the pre-reflexive and unconscious, in the play of children, in early experience, and memory or mémoire involontaire (Marcel Proust).
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Vélez, Daniel Villegas. „Apparatus of Capture: Music and the Mimetic Construction of Social Reality in the Early Modern/Colonial Period“. CounterText 8, Nr. 1 (April 2022): 123–48. http://dx.doi.org/10.3366/count.2022.0260.

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This paper supplements Gebauer and Wulf’s analyses of mimesis as a mechanism for the construction of social reality. After situating archaic musical mimesis in the context of Homeric performance and its critique in Plato, I demonstrate how musical mimesis functions as an assemblage of inscription of social mores and values through two case studies. The first examines how this mimetic mechanism is actualised in the 1589 Medici intermedi as an allegorical apparatus of capture that enables the sovereign to control the space and time of the performance. The second examines how this apparatus is redeployed by seventeenth-century Jesuit missionaries in South America to coerce nomadic Indigenous peoples into settlements known as ‘reducciones’. The paper advances an account of the darker role of musical mimesis in the dissymmetrical construction of social reality during the baroque: as a world-making tool of sovereign power and a world-destroying mechanism of epistemic genocide in colonised territories.
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Taylor, James. „Mimesis“. Chicago Review 46, Nr. 1 (2000): 56. http://dx.doi.org/10.2307/25304455.

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Alber, Jan, Marco Caracciolo und Irina Marchesini. „Mimesis“. Poetics Today 39, Nr. 3 (01.09.2018): 447–71. http://dx.doi.org/10.1215/03335372-7032690.

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Lawtoo, Nidesh. „Guest Editor's IntroductionThe Mimetic Condition: Theory and Concepts“. CounterText 8, Nr. 1 (April 2022): 1–22. http://dx.doi.org/10.3366/count.2022.0254.

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This introductory essay articulates some of the theoretical and conceptual foundations internal to the post-literary mimetic turn. Drawing on an ERC-funded transdisciplinary project titled Homo Mimeticus, out of which this special issue on The Mimetic Condition emerged, the introduction furthers Gunther Gebauer and Christoph Wulf’s account of mimesis as a ‘human condition’ in order to propose a new theory of homo mimeticus for the post-literary age. This entails a paradigm shift from dominant translations of mimesis as realistic representation toward an embodied, immanent, and relational conception of subjectivity. This mimetic subject is neither limited by the sameness of mimetic desire nor by the difference of the linguistic sign dominant in the twentieth century but, rather, is attentive to both the pathological and patho- logical re-turns to homo mimeticus in the twenty-first century. The concepts of ‘mimetic pathos’, ‘pathos of distance’, the ‘mimetic unconscious’, and hypermimesis provide theoretical steps for rethinking the mimetic condition in the age of hypermimetic reproductions.
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Dissertationen zum Thema "Mimesis in literature"

1

Truscott, John Robertson. „Studies in mimesis in Greek literature before Aristotle“. Thesis, University of Southampton, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236402.

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Valakas, Konstantinos. „Homeric mimesis and the Ajax of Sophocles“. Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/283656.

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McVittie, Marina P. de. „Eris the impulse at the root of mimesis /“. Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/8308.

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Lyle, Messina. „Reviving the Subject: A Feminist Argument for Mimesis in Literature“. Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2204.

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For centuries we have taken for granted Aristotle's assertion that fiction must encourage emotional identification by representing life realistically. With the development of a more pluralistic society, Postmodernist writiers have come to question that assumption. Having repudiated our ancestor's notions of identity, these writers create stories whose sole purpose is to comment on other stories. However, as some feminist critics have shown us, we must each have an identity in order to have the collaborative society that is the Postmodernist's goal. Therefore, the notion that a story must make a sensory impression on us and stand on its own as a story in itself is just as valid today as it was in the past.
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Dovey, Lindiwe. „African film adaptation of literature : mimesis and the critique of violence“. Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423936.

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Pellis, Vivien C., und mikewood@deakin edu au. „Inspiration and Mimesis in Plato's criticism of poetry“. Deakin University. School of Social Inquiry, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.124541.

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Plato criticizes poetry in several of his dialogues, beginning with Apology, his first work, and ending with Laws, his last. In these dialogues, his criticism of poetry can be divided into two streams: poetry is criticized for either being divinely inspired, or because it is mimetic or imitative of reality. However, of the dialogues which criticize poetry in these ways, it is not until Laws that Plato mentions both inspiration and mimesis together, and then it is only in a few sentences. Furthermore, nowhere in the dialogues does Plato discuss their relationship. This situation has a parallel in the secondary literature. While much work has been done on inspiration or mimesis in Plato’s criticism of poetry, very little work exists which discusses the connection between them. This study examines Plato’s treatment - in the six relevant dialogues - of these two poetic elements, inspiration and mimesis, and shows that a relationship exists between them. Both can be seen to relate to two important Socratic-Platonic concerns: the care of the soul and the welfare of the state. These concerns represent a synthesis of Socratic moral philosophy with Platonic political beliefs. In the ‘inspiration’ dialogues, Ion, Apology, Meno, Phaedrus and Laws, poetic inspiration can affect the Socratic exhortation which considers the care of the individual soul. Further, as we are told in Apology, Crito and Gorgias, it is the good man, the virtuous man - the one who cares for his soul - who also cares for the welfare of the state. Therefore, in its effect on the individual soul, poetic inspiration can also indirectly affect the state. In the ‘mimesis’ dialogues, Republic and Laws, this same exhortation, on the care of the soul, is posed, but it is has now been rendered into a more Platonic form - as either the principle of specialization - the ‘one man, one job’ creed of Republic, which advances the harmony between the three elements of the soul, or as the concord between reason and emotion in Laws. While in Republic, mimesis can damage the tripartite soul's delicate balance, in Laws, mimesis in poetry is used to promote the concord. Further, in both these dialogues, poetic mimesis can affect the welfare of the state. In Republic, Socrates notes that states arc but a product of the individuals of which they are composed Therefore, by affecting the harmony of the individual soul, mimesis can then undermine the harmony of the state, and an imperfect political system, such as a timarchy, an oligarchy, a democracy, or a tyranny, can result. However, in Laws, when it is harnessed by the philosophical lawgivers, mimesis can assist in the concord between the rulers and the ruled, thus serving the welfare of the state. Inspiration and mimesis can thus be seen to be related in their effect on the education of both the individual, in the care of the soul, and the state, in its welfare. Plato's criticism of poetry, therefore, which is centred on these two features, addresses common Platonic concerns: in education, politics, ethics, epistemology and psychology.
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Georganta, Konstantina. „Modern mimesis : encounters between British and Greek poetry, 1922-1952“. Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1196/.

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This thesis considers the crisis in the portrayal of national spaces and national identities, insecure in the multiplicity of their cultural roots and thus diasporic and hybrid, from 1922, a year marked for its importance in the disintegration of imperial Britain and in the positioning of Greece on the threshold of its European literary Modernist inheritance, until 1952, the year of Louis MacNeice’s observations of Greece in his poetry collection Ten Burnt Offerings. The boundaries of cultures, states, religious beliefs and genders are considered in the figures of T.S. Eliot’s Mr. Eugenides, C.P. Cavafy’s Myris, Kostes Palamas’s Phemius, W. B. Yeats’s Crazy Jane and Demetrios Capetanakis’s Greek Orlando and the Greek space is explored as John Lehmann’s Mediterranean home and Louis MacNeice’s Easter gathering. The opening chapter considers the bardic performance of Yeats and Palamas’s poetic alter-egos and their respective progress towards a fusion with the feminine and a battle with the modern. Smyrna, an area of contention for British imperial and Greek irredentist claims raising questions about the stability of national states and national identities, is discussed in Chapters 2 and 3 in the way it informed the construction of identities in Eliot’s The Waste Land and Cavafy’s poetry, respectively. Chapters 4 and 5 consider the literary encounter between Capetanakis and Lehmann, a pair that advanced the dissemination of modern Greek poetry in Britain. The final chapter of the thesis examines MacNeice’s poetry and radio features inspired by Greece in an effort to explore how the imagining of Greece has developed both visually and metaphorically in the post-war years.
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Stala, Krzysztof. „On the margins of reality : the paradoxes of representation in Bruno Schulz's fiction“. Doctoral thesis, Stockholm : Almqvist & Wiksell, 1993. http://catalogue.bnf.fr/ark:/12148/cb37667617p.

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Cojocaru, Daniel. „Violence and dystopia : mimesis and sacrifice in contemporary Western dystopian narratives“. Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:f3f2848d-d349-4dcd-8bff-810010a2e8e3.

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Violence and Dystopia is a critical examination of imitative desire, scapegoating and sacrifice in selected contemporary Western dystopian narratives through the lens of René Girard’s mimetic theory. The first chapter offers an overview of the history of Western utopia/dystopia with a special emphasis on the problem of conflictive mimesis and scapegoating violence, and a critical introduction to Girard’s theory. The second chapter is devoted to J.G. Ballard’s seminal novel Crash (1973). It is argued that the car crash functions as a metaphor for conflictive mimetic desire and leads to a quasi-sacrificial crisis as defined by Girard for archaic religion. The attempt of the medieval propheta-figure to resolve the crisis through violence fails and leads to potential violence without end. The third chapter focuses on the psychogeographical writings of Iain Sinclair. Walking the streets of London he represents the excluded underside of the world of Ballardian speed. The walking subject is portrayed in terms of the expelled victim of Girardian theory. The fourth chapter considers violent crowds as portrayed by Ballard’s late fiction, the writings of Stewart Home and David Peace’s GB84 (2004). In accordance with Girard’s hypothesis, the discussed narratives reveal the failure of scapegoat expulsion to restore peace to the potentially self-destructive violent crowds. The fifth chapter examines the post-apocalyptic environments resulting from failed scapegoat expulsion and mimetic conflict out of control, as portrayed in Sinclair’s Radon Daughters (1994), Margaret Atwood’s The Handmaid’s Tale (1985) and Oryx and Crake (2003) and Will Self’s The Book of Dave (2006). In conclusion it will become evident that Girard’s theory forms an indispensable analytical tool uncovering the pivotal themes of imitation and scapegoating in the discussed narratives: themes largely ignored in current scholarship on dystopia and secondary literature on the focussed authors.
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Boulanger, Ghislaine. „Feintes, essences et mimesis chez Nicole Brossard, Patrick Imbert et Marie-Claire Blais“. Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/29080.

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En effet, la venue de Nicole Brossard à l'écriture féminine et/ou lesbienne s'est effectuée sous le signe d'un essentialisme stratégique longtemps avant que Stephen Heath et Gayatri Spivak ne popularisent cette expression. Aussi ne peut-on s'intéresser aux points d'intersection entre essence et feintise, dans l'oeuvre brossardienne, sans par la même occasion revenir à cette époque trouble où des sujets feinteurs se disputaient l'arène du féminin, où l'écrivaine refoulait aux limites de l'écriture-femme des sujets hybrides susceptibles de mettre en abyme ses propres im/postures. Aux frontières du féminin tenteront également de passer les écritures et identités lesbiennes, passant tantôt pour autres qu'elles ne sont vraiment, tantôt par cette figure utopique que l'écrivaine prend pour toute femme, pour toute lesbienne. L'idéal brossardien aura d'ailleurs un tel ascendant sur ses contemporaines que même ses contemporains souhaiteront se faire lesbiennes, émulant et défiant l'auteure du Désert mauve tout à la fois, comme nous le découvrirons dans une nouvelle de Patrick Imbert ou seront taraudées les cloisons entre les genres identitaires et scripturaires. Car l'essence s'avère avant tout une question de frontières, de territoires autour desquels se greffent des identités marginales, et au coeur desquels s'imposent des entités dominantes, différenciatrices. Voilà, il est vrai, un tiroir dont les secrets encore aujourd'hui nous résistent où dont plusieurs souhaiteraient perdre la clef, car se cachent au fond de lui d'épineux problèmes d'exclusion, souvent involontaires, causes par une rhétorique essentialiste quelque peu piègée. La philosophe Elizabeth V. Spelman a certes eu raison de déconstruire métaphores et analogies, de démonter les mécanismes de forclusion intrinsèques à ces figures. Mais à tant vouloir franchir des frontières interdites, il arrive que l'on doive non seulement passer pour une autre, mais aussi, avec d'autres, comme nous le démontrera un roman de Marie-Claire Blais. Or, qu'advient-il de l'intention solidaire, lorsque celle-ci se conjugue à des problèmes de légitimité, lorsqu'elle ne saurait admettre certaines relations de pouvoir ou lorsque encore, elle tend à les reproduire? Qui disparait, dans la foulée des emprunts identitaires? (Abstract shortened by UMI.)
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Bücher zum Thema "Mimesis in literature"

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Dami︠a︡nova, Adriana. Mythos & mimesis. Sofii︠a︡: Sema Rsh, 2002.

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Potolsky, Matthew. Mimesis. New York: Routledge, 2006.

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Lima, Luiz Costa. Vida e mimesis. Rio de Janeiro: Editora 34, 1995.

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Feldmann, Harald. Mimesis und Wirklichkeit. München: W. Fink, 1988.

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Melberg, Arne. Theories of mimesis. Cambridge [England]: Cambridge University Press, 1995.

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Thomas, Metscher, Hrsg. Mimesis und Ausdruck. Köln: Dinter, 1999.

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Mitosek, Zofia. Mimesis: Zjawisko i problem. Warszawa: Wydawn. Naukowe PWN, 1997.

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1975-, Holmes Jonathan, und Streete Adrian, Hrsg. Refiguring Mimesis: Representation in early modern literature. Hatfield [U.K.]: University of Hertfordshire Press, 2005.

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Zofia, Mitosek, Hrsg. Mimesis w literaturze, kulturze i sztuce. Warszawa: Wydawn. Naukowe PWN, 1992.

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Gebauer, Gunter. Mimesis: Kultur, Kunst, Gesellschaft. Reinbek bei Hamburg: Rowohlt, 1992.

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Buchteile zum Thema "Mimesis in literature"

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Bose, Mandakranta. „The Literature of Dance“. In Movement and Mimesis, 13–107. Dordrecht: Springer Netherlands, 1991. http://dx.doi.org/10.1007/978-94-011-3594-8_2.

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Kimmel, Lawrence. „Crossblood: Literature and the Drama of Survival“. In Life Creative Mimesis of Emotion, 9–22. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4265-6_2.

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Magnússon, Gísli. „Visionary Mimesis and Occult Modernism in Literature and Art Around 1900“. In The Occult in Modernist Art, Literature, and Cinema, 49–66. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76499-3_3.

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Sutherland, John. „Mimesis“. In 50 Schlüsselideen Literatur, 4–7. Heidelberg: Spektrum Akademischer Verlag, 2012. http://dx.doi.org/10.1007/978-3-8274-2900-1_2.

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Kleine, Sabine. „Mimesis und Imagination“. In Comparative History of Literatures in European Languages, 443–59. Amsterdam: John Benjamins Publishing Company, 2001. http://dx.doi.org/10.1075/chlel.xiv.30kle.

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Marin, Miguel Jarquin. „La Literatura Y La Persona Excepcional“. In Life Creative Mimesis of Emotion, 257–76. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4265-6_20.

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Kraft, Helga. „Mimesis unterminiert: Drama und Theater von Frauen“. In Frauen Literatur Geschichte, 279–98. Stuttgart: J.B. Metzler, 1999. http://dx.doi.org/10.1007/978-3-476-03218-8_20.

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Brooker, Joseph. „Irish Mimes: Flann O'Brien“. In A Companion to Irish Literature, 176–91. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch40.

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Ortiz, Ricardo L. „Un-Homey States: Econo-Mimetics of Homelessness in US Latinx Poetry“. In Latinx Literature Now, 59–72. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04708-5_6.

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Johnsen, William A. „Mimetic Theory, Religion, and Literature as Secular Scripture“. In The Palgrave Handbook of Mimetic Theory and Religion, 303–9. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-53825-3_40.

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Konferenzberichte zum Thema "Mimesis in literature"

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Nissa, Fitri Khoirun, Herniwati, Risa Triarisanti, Asma Azizah und Jayanti Megasari. „Forms and Translation Procedures of Korean Onomatopoeia and Mimesis in the Webtoon“. In Fifth International Conference on Language, Literature, Culture, and Education (ICOLLITE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211119.046.

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Nogueira, Antônio Henrique Silva, und Amilton José Vieira de Arruda. „Design e Mimese: uma revisão sistemática da literatura“. In I Seminário de Pesquisa PPGDesign. São Paulo: Editora Blucher, 2021. http://dx.doi.org/10.5151/isspppgdesign-01.

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Pimentel, Antonio Marcos Gonçalves. „Apolo e Daphne de Bernini: verossimilhança da literatura mitológica latina na escultura barroca“. In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3998.

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O Mito de Apolo e Daphne é um dos mais recorrentes em toda a Antiguidade e também um dos que apresentam várias versões. Em todas elas, o ponto em comum é a fuga de Daphne das investidas amorosas de Apolo, culminando com a sua transformação em Loureiro. É esse o momento que Bernin imortaliza em sua escultura, que compõe o grupo borghesiano integrando o conjunto que retoma uma série de narrativas míticas. Influenciada pela cultura helenística e pelas estátuas desse período do qual faz parte o laocoonte, a estátua de Bernini se caracteriza pelo movimento espiralado e pelo dramatismo da cena representada, típico da representação desse período que valorizava o ápice da ação, seu clímax. O momento em que todo o drama se revela conferindo um ar teatral à cena. Além disso, deve-se notar o extremo realismo com que essas obras foram dotadas: as texturas das carnes, a riqueza de detalhes e a construção dos rostos. Nesta comunicação, pretendemos fazer um cotejo entre a descrição do mito de Apolo e Daphne descrito na literatura latina nas Metamorfoses, de Ovídio, através da análise profunda do léxico latino utilizado por esse autor, relacionando-a com os detalhes escultóricos de Bernini. Embora a questão da mimesis permeie nosso cotejo literário-escultural, seja ela considerada pelo lado platônico ou aristotélico, a questão artística, considerando-se também a questão da presença ou não da imitatio latina, já se constitui numa realidade: a verossimilhança inter artes, a literatura e a escultura. É essa verossimilhança que pretendemos analisar e discutir até que ponto a escultura de Bernini foi fiel ao texto latino, ou se fez dele apenas um ponto de partido, preservando apenas, senão o texto, a emoção do momento que este conseguiu imprimir em suas linhas.
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Guo, Xiaoyu, Yuyang Jiang und Yawei Hao. „Visual Pictures and Digital Technologies in the Digital Anthropocene: Development, Analysis, and Critical Reflection“. In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004966.

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This paper explores the favorable effects of visual pictures and digital technology, while critically reflecting on visual pictures and digital technology to warn humans of potential threats we may confront in the Digital Anthropocene. We cite W.J.T. Mitchell’s theory of the “pictorial turn” and Don Ihde’s phenomenology of technology to explore the development of visual pictures and the relationship between humans and visual pictures and technology, respectively. Our study focused on the visual pictures and application of digital technologies through pertinent literature and case studies. Based on these explorations, we advanced a novel viewpoint termed “non-anthropocentric intelligent technology-oriented design,” aiming to reveal the subject-object relationship between humans and technologies and how humans can escape the hegemonic control of digital beings. The current research indicates that with the support of digital technologies, visual pictures are characterized by multidimensionality, diversity, and temporally-spatially adaptability. Immersive design, formed by the deep integration of visual pictures and technologies, brings humans a more abundant visual experience. In addition, AI-assisted design also unleashes humans’ creativity and improves efficiency. Nevertheless, as the transmission of the era of “the mimetic domain” from “the picture domain” intensifies the digital gap, excessive visual pictures impose high visual pressure and cognitive crisis on humans. AI-assisted design also replaces low-quality labor and restructures design teams. However, the subject-object relation between humans and visual pictures and technologies is gradually blurring in the progress of digitization. Maintaining humanity amid the digital wave of visual pictures and technologies is to maintain humans’ free will and adhere to ethical principles in design. One crucial future direction is to explore the ethical dimensions of digital picture production and the intricate relationship between digital technologies and human embodiment.
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Berichte der Organisationen zum Thema "Mimesis in literature"

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Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina und Ekaterina O. Shmeltser. Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis. [б. в.], Juli 2020. http://dx.doi.org/10.31812/123456789/3864.

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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.
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