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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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Rybačiauskaitė, Karolina. „Towards a Diffractive Mimesis: Karen Barad’s and Isabelle Stengers’ Re-Turnings“. Journal of Posthumanism 2, Nr. 2 (30.06.2022): 139–50. http://dx.doi.org/10.33182/joph.v2i2.1943.
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This article seeks to further the discussion of mimesis in the current new materialist philosophies that are charged with doubts about the potential of mimetic practices, i.e., practices of reflection, and propose a more differential /diffractive notion of mimesis. It argues that the concept of mimesis and performative approaches to knowledge making can be compatible. The figures of mimesis appear in the conceptualizations of both reflective and diffractive practices, and if mimesis is considered rather as a diffractive operation, it could be seen as having a different efficacy and ethico-political function. Drawing on Karen Barad’s and Isabelle Stengers’ arguments, I start by showing why in the representationalist view of knowledge making, the tool of mimesis is dysfunctional—it is a way of separating and classifying copies of reality. Then, I introduce a diffractive notion of mimesis in line with the mimetic re-turn in posthuman studies. From the perspective of relational understanding of knowledge making supported in Barad’s and Stengers’ ethico-political proposals, mimesis can be perceived as a tool for provoking change and thus, imply a need to do it carefully.
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Lawtoo, Nidesh. „Posthumanism and Mimesis: An Introduction“. Journal of Posthumanism 2, Nr. 2 (30.06.2022): 87–100. http://dx.doi.org/10.33182/joph.v2i2.2242.
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A different, immanent, embodied, and relational conception of mimesis is currently informing the posthuman turn. Emerging from an ERC-funded project titled Homo Mimeticus, this opening essay introduces the mimetic turn in posthuman studies via three related steps: first, it differentiates aesthetic realism and the metaphysics of sameness it entails from a posthuman mimesis open to differential processes of becoming other; second it inscribes the mimetic turn in a brief genealogy of re-turns to mimesis in the history of western thought; and third, it turns to contemporary manifestations of hypermimesis—from Covid-19 to the Russian invasion of Ukraine in February 2022—to test the relevance of the mimetic turn. Together, these opening steps argue for the urgency to rethink mimesis in light of all too human, environmental, and posthuman challenges in the twenty-first century.
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Dolar, Mladen. „Mimesis and ideology - from Plato to Althusser“. Filozofija i drustvo 26, Nr. 1 (2015): 156–78. http://dx.doi.org/10.2298/fid1501156d.
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The moment one imitates something, it sticks, it marks the imitator, there is no innocent imitation. Imitation necessarily affects the one who imitates, for better or (usually) for worse, and the making of a simple copy of something necessarily affects the original. This is perhaps the briefest way to describe Plato?s concerns about the nature of mimesis in the Republic. The purpose of this paper is to give a brief account of looking at the mysterious magic powers of mimesis and of attempts to counteract them. The topic is massive, so the paper will concentrate on a few perspectives, starting with the theatrical parable of St. Genesius, leading to Pascal and to Althusser?s theory of ideology, then scrutinizing the ways in which modernity tried to disentangle itself from mimesis (Brecht?s estrangement, Irigaray?s femininity as mimesis, Badiou?s anti-mimetic stance, Freud?s account of magic and Lacan?s account of enjoyment). What is the real of the mimetic spell which has so vastly ramified aesthetic and political consequences? The paper proposes a defense of mimesis, claiming that modernity, by relegating the traditional art to the past of mimesis and representation, thereby maintained a disavowed kernel of mimesis at its core.
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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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Seif, Farouk Y. „Mutual mimesis of nature and culture: A representational perspective for eco-cultural metamorphosis“. Sign Systems Studies 38, Nr. 1/4 (01.12.2010): 242–69. http://dx.doi.org/10.12697/sss.2010.38.1-4.09.
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Since the beginning of history humans have attempted to represent nature and culture through mimesis. This article focuses on the teleological aspects of mimesis and offers a different perspective that transcends the notion of sustainability into an eco-humanistic metamorphosis of culture and nature. Drawing from semiotics, phenomenology and architectural design the article challenges the polarization of mimetic representations of nature and culture, which are inclusive and homomorphic phenomena, and offers insight into the mutual mimesis of nature and culture. Two different empirical observations substantiate the theoretical perspective: 1) a tradition advanced by the Egyptians’ stylization of visual representations of the mimicry of nature and culture; and 2) a current architectural design activity that integrates the mimesis of nature and culture. The article makes the case for a theoretical approach that integrates mimetic principles in creating a sustainable environment and an authentic ecoliving. The article concludes with ethical implications on the way we perceive the mutual resemblances in nature and culture, and on our semiotic understanding of the teleological aspects of mimesis.
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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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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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Bennema, Cornelis. „Mimesis in John 13“. Novum Testamentum 56, Nr. 3 (17.06.2014): 261–74. http://dx.doi.org/10.1163/15685365-12341465.
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Johannine scholarship is divided on whether the mimetic imperative in John 13:15 calls for a literal replication of the footwashing or is a general reference to humble (loving) service. My argument is that for the author mimesis involves primarily the creative, truthful, bodily articulation of the idea and attitude that lie behind the original act rather than its exact replication. The Johannine concept of mimesis is a hermeneutical process that involves both the understanding of the original act and a resulting mimetic act that creatively but faithfully articulates this understanding.
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Telo, Hélder. „Plato’s Philosophical Mimesis: On the Pedagogical and Protreptic Value of Imperfection“. ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 16, Nr. 2 (2022): 520–49. http://dx.doi.org/10.25205/1995-4328-2022-16-2-520-549.
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This article addresses two often perplexing traits in Plato’s philosophical style: first, the fact that Plato’s writings are mimetic, despite the strong criticisms of mimesis we find therein; second, the fact that this mimesis not only features the constitutive defects inherent to any mimesis, but Plato actually increases its imperfection by adding other manifest defects. Based on epistemological and psychological views taken from the Platonic corpus (especially the soul’s tripartition), I show how Plato’s philosophical mimesis uses defectiveness or imperfection to overcome the limitations of mimesis identified in the Republic. To explain this, I argue that Plato’s philosophical mimesis should be primarily conceived as an imitation of people or conversations in which views or arguments are conveyed, but rather as an imitation of the act or practice of philosophical inquiry, and that by rendering this act visible to the reader, the Platonic corpus can better teach how to perform it and better turn readers to a life determined by its performance. This is not without risks because, as a type of mimesis, philosophical mimesis can still lead to misunderstandings or affect the soul in a negative way. However, the quantitative, qualitative and tonal defects Plato introduces in his mimesis of philosophical inquiry cause astonishment and therefore have a provocative effect that helps to reduce those risks and enhance the corpus’ pedagogic and protreptic potential. Consequently, Plato’s philosophical mimesis explores the benefits of mimesis and is in strong contrast with artistic or dramatic mimesis as is understood in Republic X.
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Durrant, Sam. „Homo Ecologicus : Animism, Historical Materialism and Planetary Mimesis“. MLN 138, Nr. 5 (Dezember 2023): 1520–44. http://dx.doi.org/10.1353/mln.2023.a922037.
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Abstract: The contemporary return toward mimesis turns in at least two directions. The first doubles down on Plato's suspicion of mimesis as a contagious threat to rationality and the healthy functioning of the polis and in this sense advocates, at the level of human behaviour, a turning away from mimesis and the pathological, all-too-human nature of homo mimeticus . The second form of the mimetic turn is a more wholehearted turning towards mimesis, seen not as contagious pathology but as cure, as planetary solution to our all-too-human modes of being in the world. This essay is interested in this second, utopian turn towards mimesis, charting the dialectical re-emergence of homo mimeticus as homo ecologicus in Horkheimer and Adorno's Dialectic of Enlightenment and Noongar novelist Kim Scott's That Deadman Dance .
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HUTSON, LORNA. „Forensic Aspects of Renaissance Mimesis“. Representations 94, Nr. 1 (2006): 80–109. http://dx.doi.org/10.1525/rep.2006.94.1.80.
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ABSTRACT Current approaches to Renaissance drama, rejecting the older idea of mimesis as likeness to an essential ““nature,”” have also rejected the assumption that Shakespeare's drama is especially mimetic. This article argues that these approaches neglect the contribution of narrative coherence or plot tomimesis and shows that a judicial conception of narrative underlies the mimesis of neoclassical Renaissance drama, including Shakespeare. Mimetic readings of Shakespeare may thus be appropriately legalistic responses to an evidentially based conception of plot.
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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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Erslev, Malthe Stavning. „A Mimetic Method“. A Peer-Reviewed Journal About 11, Nr. 1 (18.10.2022): 34–49. http://dx.doi.org/10.7146/aprja.v11i1.134305.
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How does a practice of mimesis — as dramatic enactment in a live-action role-playing game (LARP) — relate to the design of artificial intelligence systems? In this article, I trace the contours of a mimetic method, working through an auto-ethnographic approach in tandem with new materialist theory and in conjunction with recent tendencies in design research to argue that mimesis carries strong potential as a practice through which to encounter, negotiate, and design with artificial intelligence imaginaries. Building on a new materialist conception of mimesis as more-than-human sympathy, I illuminate how LARP that centered on the enactment of a fictional artificial intelligence system sustained an encounter with artificial intelligence imaginaries. In what can be understood as a decidedly mimetic way of doing ethnography of algorithmic systems, I argue that we need to consider the value of mimesis — understood as a practice and a method — as a way to render research into artificial intel- ligence imaginaries.
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Juodeika, Rytis. „Valery Podoroga’s Theory of Mimesis: the Sensory Aspects of Text Perception“. Problemos 101 (26.04.2022): 118–31. http://dx.doi.org/10.15388/problemos.101.10.
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The paper aims to analyse and understand tensions and meanings in the notion of mimesis in the perspective of philosophical anthropology. Classical mimesis theories, which stretch from classical antiquity to modern works by E. Auerbach or P. Ricoeur, are often associated with poetics, narratology or other literature theory studies. V. Podoroga talks about anthropological and phenomenological mimesis, not only about ‘external’, Aristotelian version, but also about internal mimesis. He focuses on the experience of the body as the basis of mimesis. The author explains how mimesis in Podoroga’s version acquires new meanings and demonstrates how Podoroga’s matrixes of anthropograms complement, discuss and transgress hermeneutical models of Ricoeur.The author claims that the method of Podoroga brings us to some kind of a unique ‘system’, that could be compared to the ideas of ‘the death of the author’ (R. Barthes) or ‘the open work’ (U. Eco). Podoroga shows us an alternative, non-semiotic and mimetic approach in contemporary thought, that has not been widely discussed yet in both Russian and English sources.
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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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González, José M. „The Aristotelian Psychology of Tragic Mimesis“. Phronesis 64, Nr. 2 (25.03.2019): 172–245. http://dx.doi.org/10.1163/15685284-12341958.
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AbstractThis paper argues that the psychology of mimesis presupposed by Poetics 4 is immediately relevant to Aristotle’s psychology of tragic mimesis. µανθάνειν καὶ συλλογίζεσθαι at 1448b16 involve a cognitive mode characteristic of Aristotelian induction that joins particulars with universals through spontaneous, non-discursive noetic predication. Aristotle’s view of the cognition of tragic mimesis can be subsumed under the practice of theōria: the inductive re‑cognition of ethical universals is a ‘theoric’ exercise of philosophical reflection on the particulars of the tragic action, an associative intellection that actualizes the subject’s knowledge by joining ethical universals with the particular mimetic praxeis they regard.
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Lawtoo, Nidesh. „Wilde's Mime Acts: Performing Minor Mimesis“. MLN 138, Nr. 5 (Dezember 2023): 1438–59. http://dx.doi.org/10.1353/mln.2023.a922033.
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Abstract: Mimesis is not a minor literary and philosophical concept in western thought. Still, an immanent, marginalized, and in this sense minor conception of performative mimesis (from mimos , actor or performance) is currently informing the transdisciplinary field of mimetic studies. Supplementing Deleuze and Guattari's account of Kafka's "minor literature," this article focuses on Oscar Wilde's dramatizations of performative mimesis revealing that not only language is performative; human lives and bodies are also driven by "an imitative instinct." From The Picture of Dorian Gray to The Importance of Being Earnest , Wilde's dramatic impersonations of homo mimeticus allow him to do not only things with words (speech acts) but also to do things with affects and bodies (mime acts). In the process, he provides new steps to further the mimetic turn or re -turn to a minor, performative, and embodied theory of homo mimeticus .
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Hangaard Rasmussen, Torben. „LEGENS POETIK - Platon og Aristoteles om leg“. Psyke & Logos 23, Nr. 2 (01.12.2002): 21. http://dx.doi.org/10.7146/pl.v23i2.8594.
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Med udgangspunkt i Platons STATEN og Aristoteles’ POETIK argumenterer artiklen for, at leg er en POETISK virksomhed, der forener to kilder: MIMESIS og MYTHOS. Mimesis (dramatisk fremstilling) og mythos (fortælling) er komplementære forudsætninger for både rhapsodens praksis og børns leg. I barndommen løber disse to kilder snart parallelt med hinanden, snart sammen og bliver til EPISK LEG eller DRAMATISK LEG. I episk leg, som er genstand for Platons kritik i STATEN, veksler barnet mellem at være sig selv og en anden. Det ene øjeblik gengiver barnet mimetisk et menneske, et dyr eller en mytologisk figur, det næste øjeblik fortæller det om, hvilken retning legen skal tage. Mimesis og mythos flyder ind og ud mellem hinanden. I dramatisk leg, som Aristoteles analyserer i sin POETIK, opbygges fortællingen indefra, igennem dialogens fortløbende udvikling. Mythos er indbygget i mimesis, i den direkte tale.
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Zlatev, Jordan, Tomas Persson und Peter Gärdenfors. „Triadic bodily mimesis is the difference“. Behavioral and Brain Sciences 28, Nr. 5 (Oktober 2005): 720–21. http://dx.doi.org/10.1017/s0140525x05530127.
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We find that the nature and origin of the proposed “dialogical cognitive representations” in the target article is not sufficiently clear. Our proposal is that (triadic) bodily mimesis and in particular mimetic schemas – prelinguistic representational, intersubjective structures, emerging through imitation but subsequently interiorized – can provide the necessary link between private sensory-motor experience and public language. In particular, we argue that shared intentionality requires triadic mimesis.
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Yetim, Evşen, und Derya Elmalı Şen. „Kopya ve mimesis ikiliğinde çağdaş mimaride taklit üzerine bir okuma“. JOURNAL OF ARTS 6, Nr. 4 (23.10.2023): 231–42. http://dx.doi.org/10.31566/arts.2114.
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Çalışmada, poiesis ve mimesis kavramlarının etimolojik ve felsefeye dayalı açılımlarından yola çıkılarak çağdaş mimarideki taklit eylemi üzerinden bir okuma gerçekleştirilmektedir. Bu okumada her ikisi de taklit anlamına gelen kopya ve mimesis arasındaki ayrım ve seçim konusunda bir farkındalığın oluşturulması amaçlanmaktadır. Mimesisin bir taklit olmasına rağmen bir kopya olmadığı vurgulanmaktadır. Sanayi Devrimi ile başlayan endüstri çağı yarattığı seri üretim ile kopya ürünler ortaya çıkmaya başlamıştır. Bu üretim şekli pek çok alanda etkili olduğu gibi mimarlık alanında da etkili olmuştur. Özellikle 2. Dünya Savaşı sonrasında Avrupa’daki yıkık kentlerin yeniden hızlıca inşa edilmesi fikri yeni bir mimari akımın temellerini atmıştır. Modern Mimari, her ne kadar ortaya çıkış misyonunda “bugüne ait olan” anlamını barındırsa da bugün gelinen noktada kentlerdeki niteliksiz yapılı çevrenin başkahramanı olmuştur. Çalışmada çağdaş mimarinin böyle bir noktada bulunmasının nedeninin mimesis ile kopya arasındaki ayrımın iyi yapılamamasından; öz/anlam/yöntem yerine biçimsel/nesne olanın taklit edilmesinden kaynaklandığı düşüncesi üzerinde durulmaktadır. Dahası mimesis ve tekniğinin doğru kullanılması ile mimarlık alanında yeni bir farkındalık yaratılabileceği, kopya ürünlerin yerine özgün mimari ürünlerin tasarlanmasının birey, toplum ve ülke için iyileştirici öneme sahip olduğu düşünülmektedir. Yapılı çevrenin insan psikolojisi ve davranışları üzerindeki etkisinin bu kadar önemli olması, birer taklit olsa da mimesis ve kopyanın yeniden okunmasını daha da anlamlı kılmaktadır. Mimesis hem mimarlık eğitimi hem de mimarlık eylemi için başarılı bir tasarım tekniğidir. Bu bağlamda, kopya ve mimesis kavramları üzerine kurulu bu metin mimarlık eğitimi, mimarlık eylemi ve mimari ürün tasarım yaklaşımı için eleştirel okuma sunmaktadır.
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Kalpokas, Ignas. „Social Media: Mimesis and Warfare“. Lithuanian Foreign Policy Review 35, Nr. 1 (01.06.2016): 119–36. http://dx.doi.org/10.1515/lfpr-2016-0026.
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Abstract Weaponisation of social media and online information is a real and emerging threat. Hence, this article aims to broaden our understanding of this phenomenon by introducing the concept of mimetic warfare. Borrowing from mimesis, or a particular representation of reality, this article delves into information conflicts as the ones involving a struggle between well-prepared comprehensive narratives that are intended to affect a target population’s cognition and behaviour. Mimesis as a concept is seen as particularly useful in explaining the multiplicity, proliferation and appeal of such representations and interpretations of facts, events or phenomena. The article then presents a case for the Western states’ proactive involvement in mimetic operations at the home front in order to maintain cohesion and not to cede ground to hostile foreign powers.
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이풍인. „A Study of René Girard’s Idea of Mimetic Rivalryfrom Bad Mimesis to Good Mimesis“. faith & scholarship 23, Nr. 3 (September 2018): 217–41. http://dx.doi.org/10.30806/fs.23.3.201809.217.
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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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Voss, Christiane. „Mimetische Inkorporierung am Beispiel taxidermischer Weltprojektionen“. Zeitschrift für Medien- und Kulturforschung 8, Nr. 1 (2017): 193–208. http://dx.doi.org/10.28937/1000107630.
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"Die Ablehnung der Mimesis, verstanden als ein Anspruch von Darstellungen auf Naturnachahmung, ist ein charakteristischer Grundzug moderner Ästhetik und Erkenntnistheorie seit dem Ende des 19. Jahrhunderts. Parallel dazu existieren zeitgleich im Raum wissensbildender Institutionen wie den Naturkundemuseen Dispositive, etwa die Habitat-Dioramen, die das traditionell mimetische Ideal auf kreative Weise aufrechterhalten. Diese vermeintlich anachronistischen Dispositive werden hinsichtlich ihrer mimesisproduktiven Dimensionen medienphilosophisch reflektiert und zu Adornos Mimesisverständnis ins Verhältnis gesetzt. The rejection of mimesis, understood as a depiction’s claim on imitation of nature, has been a characteristic feature of modern aesthetics and epistemology since the end of the 19th century. At the same time, there are also dispositives, such as habitat dioramas, which creatively maintain the traditionally mimetic ideal in the space of knowledge-building institutions such as museums of natural science. These supposedly anachronistic dispositions are reflected in media-philosophical terms with regard to their dimensions of mimesis production and are related to Adorno’s understanding of mimesis. "
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Ossman, Susan. „Mimesis“. Hermès 22, Nr. 1 (1998): 9. http://dx.doi.org/10.4267/2042/14942.
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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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Leach, Neil. „Mimesis“. Architectural Theory Review 10, Nr. 1 (April 2005): 93–104. http://dx.doi.org/10.1080/13264820509478531.
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Billett, Stephen. „Mimesis“. Human Resource Development Review 13, Nr. 4 (07.09.2014): 462–82. http://dx.doi.org/10.1177/1534484314548275.
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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. „Posthuman Mimesis I: Concepts for the Mimetic Turn“. Journal of Posthumanism 2, Nr. 2 (30.06.2022): 101–14. http://dx.doi.org/10.33182/joph.v2i2.2063.
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A mimetic turn is emerging in posthuman studies. Taking as a starting point a recent re-turn to an immanent, embodied, and relational conception of mimesis constitutive of the ERC-funded project, Homo Mimeticus, this paper proposes three related conceptual foundations to further a “mimetic turn” already at play in sf simulations and now operative in embodied imitations as well. Building on pioneering work on the centrality of an “embodied” and “cognitive nonconscious” (Hayles 1999, 2017) on the one hand, and a “relational” conception of “posthuman subjectivity” (Braidotti 2019) on the other, I argue that mimesis, understood as an unconscious tendency to mimic others (be they human or nonhuman) provides a decisive and still missing link to account for the capacity of (post)humans to become other in the first place. The concepts of “mimetic pathos,” the “mimetic unconscious,” and “hypermimesis” provide three related conceptual steps toward a mimetic turn in posthuman studies, which as this special issue shows, is already underway.
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Ladwig, Patrice, und Ricardo Roque. „Introduction“. Social Analysis 62, Nr. 2 (01.06.2018): 1–27. http://dx.doi.org/10.3167/sa.2018.620201.
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Engaging critically with literature on mimesis, colonialism, and the state in anthropology and history, this introduction argues for an approach to mimesis and imitation as constitutive of the state and its forms of rule and governmentality in the context of late European colonialism. It explores how the colonial state attempted to administer, control, and integrate its indigenous subjects through mimetic policies of governance, while examining how indigenous polities adopted imitative practices in order to establish reciprocal ties with, or to resist the presence of, the colonial state. In introducing this special issue, three main themes will be addressed: mimesis as a strategic policy of colonial government, as an object of colonial regulation, and, finally, as a creative indigenous appropriation of external forms of state power.
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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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Siemens, Herman. „Mimesis, Metaphysics and Aesthetic Science in Baumgarten and Nietzsche's The Birth of Tragedy“. MLN 138, Nr. 5 (Dezember 2023): 1405–21. http://dx.doi.org/10.1353/mln.2023.a922031.
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Abstract: This paper investigates the notion of mimesis in Baumgarten's Meditationes (1735), the inaugural text of modern aesthetics, and Die Geburt der Tragödie , as two exemplary texts of aesthetische Wissenschaft . What meanings and functions do they give to 'mimesis' and the Aristotelian doctrine that art is an imitation ( Nachahmung, Abbild ) of nature? The main thesis is that both texts cast art as a Nachahmung of the creative principle of nature (natura naturans), rather than the order of things (natura naturata); a move that displaces traditional (static, dualistic, passive, representational) notions of mimesis with one that is dynamic, creative and tendentially anti-metaphysical, in line with the mimetic turn. They are exemplary texts of aesthetische Wissenschaft because the way they do this places them at opposite ends of metaphysics.
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Phillips, Jacob B., und K. David Harrison. „Munda mimetic reduplication“. Canadian Journal of Linguistics/Revue canadienne de linguistique 62, Nr. 2 (06.03.2017): 221–42. http://dx.doi.org/10.1017/cnj.2017.13.
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AbstractThe Munda languages of South Asia exhibit sound symbolism in their use of mimetic reduplication, to which they devote a surprisingly large percentage of their lexicons, typically upwards of ten percent. We present an extensive empirical typology of mimetic reduplication in seven Munda languages: Ho, Kera Mundari, Kharia, Mundari, Remo (Bondo), Santali, and Sora (Savara). Munda Mimetic forms can depict sensory qualities of sound, space, movement, texture, smell, taste, temperature, feelings, and sensations. The typology of mimetic reduplication in Munda varies across syntactic class, semantic domain and phonological form. This can shed light on the breadth of diverse structures in Munda languages, and may also be extrapolated to other languages and other examinations of reduplication and/or mimesis. This work provides a wealth of data to researchers of mimesis and reduplication, challenging the definition of what it means for forms to be sound-symbolic or reduplicated.
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Dr Snigdha Jha. „Aristotle’s Mimesis or Creative Imitation“. Creative Launcher 5, Nr. 1 (30.04.2020): 32–36. http://dx.doi.org/10.53032/tcl.2020.5.1.05.
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The present paper explores in totality the Mimetic or Creative imitative power in creative writers and visual painters. Giving a befitting reply to his master, Plato condemned poets and painters on the grounds that they lack originality. They are mere imitators and their creation is thrice removed from truth and reality. Aristotle in his magnum opus, Poetics, starts with this mimesis thing and goes at length telling that Mimesis or Imitation is central to existence. We human beings are better developed than brute beasts primarily because we have the highest imitating power. Plato and Aristotle both take into consideration the poets. Plato criticizing him and Aristotle accolade him on grounds on mimetic arts. As it delves deeper into the idea it explores that besides imitation, it is instinctual in nature and the other instinct is for rhythm and harmony. Persons endowed with these two natural gifts ultimately give rise to poetry. Poetry after its birth diverged into two directions the graver spirits imitated the lives of nobler men and trivial ones the actions of meaner men. Thus was born tragedy and comedy.
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Lawtoo, Nidesh. „Black Mirrors“. Philosophy Today 65, Nr. 3 (2021): 523–47. http://dx.doi.org/10.5840/philtoday2021517406.
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Reflections on mimesis have tended to be restricted to aesthetic fictions in the past century; yet the proliferation of new digital technologies in the present century is currently generating virtual simulations that increasingly blur the line between aesthetic representations and embodied realities. Building on a recent mimetic turn, or re-turn of mimesis in critical theory, this paper focuses on the British science fiction television series, Black Mirror (2011–2018) to reflect critically on the hypermimetic impact of new digital technologies on the formation and transformation of subjectivity.
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Malyshev, Vladislav B. „Dance of the language: Primordial cultural modalities in the light of metaphor theory“. Aspirantskiy Vestnik Povolzhiya 20, Nr. 7-8 (26.04.2020): 44–48. http://dx.doi.org/10.17816/2072-2354.2020.20.4.44-48.
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The article analyzes the relationship between the conceptual field of metaphor and the primordial cultural modalities in the context of the problem of transcendent instances. Metaphor, mimesis, and poetry as three types of modeling the reality of culture can be correlated in the plane of language representation of the world. The dance of language is the top species of mimetic evolution, whereas metaphor is the key to understanding the mechanism of mimesis in art and culture (I.-G. Herder, F. Nietzsche). The discourse of the primordial cultural modalities in language is clothed in certain images, in certain mimetic forms, in the dance of language. Metaphor is the key to understanding the primordial cultural modalities. It is in the dance of language which a person finds wholeness of being.
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Maeng, Min-Chung, und Kyung-Sook Lee. „Sports from a Mimesis Perspective: Focusing on Adorno Mimesis“. Korean Journal of Physical Education 61, Nr. 1 (30.01.2022): 151–65. http://dx.doi.org/10.23949/kjpe.2022.1.61.1.11.
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Jungers, Jean-Jacques. „Mimesis & Cie – The (un)walled man“. Acta Europeana Systemica 5 (13.07.2020): 19–26. http://dx.doi.org/10.14428/aes.v5i1.56933.
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From the Borromean knotting of concepts world, scene and obscene which represent the material, symbolic and mythological dimensions of our environment, the article explains the process of civilization at work in our societies. In our view, this process characterized itself by the obscene placing – to put behind the scene, in French mise obscène – of an important part of our environment. It is specific to the social animal that is the human being. When he stands on the scene, he always hides a part of his condition. The one he is ashamed because it places him in front of the ontological void that constitutes him.The modern movement radicalized this process by elevating the obscene placing up to a principle. This principle constitutes, in our opinion, a denial of together : the complexity of the human being, the fragility of his environment and the specificity of his condition. However, it was the way, followed by the moderns, to hide themselves the ontological void which they were nevertheless constituted. As a result appears a new man, a man without condition which, surrounded by the comforting decor of the scene, has lost the consciousness of both, its constitutive frailty (body and environment) and the destructive nature of its own way of life. If one refers to scientific forecasts, he now runs blindly towards an imminent ecological drama that could end with nothing other than the inhabitability of his own planet.This opens a double urgency: first, to identify and understand the devices at work in the process of obscene placing and subsequently, to reflect on how to change them. It being understood that human awareness would impact its behavior and, thus, would influence the catastrophic projections of our scientists.According to our interpretation of the Lacanian definition of primitive architecture, it can be considered as one of those devices because it allows the man to isolate the obscene from thescene (Jungers 2015). Hence, we hypothesize, to open what follows, that the plausibility of the mimesis is related to the mimetic power of architecture. Mimesis and mimetic would, therefore, be two sides of the same coin. Mimesis is ideational. It traditionally regulates the imitative arts in the way nature has to be represented. Mimetic is material. It allows some animals to survive in this nature by using, according to Roger Caillois, three strategies: intimidation, transvestism and camouflage.To clarify the links between mimesis and mimetic, we will draw hereafter, the contours of this particular animal that is the man, at the same time, talking, symbolic and social animal. On the way we will approach the issues of mimesis and mimetic which will allow us to conclude by pointing three devices used by architecture to hide the obscene: the wall (hiding), the type(meaning) and the parergon (sublimation). These three devices enable the human being not only to hide from himself the obscene, but more than that, to hide from himself that architecture which itself hides.
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Малышев, Владислав Борисович. „THE QUESTION OF MIMESIS IN THE LIGHT OF METAPHOR THEORY: TO THE PROBLEM STATEMENT“. Вестник Тверского государственного университета. Серия: Философия, Nr. 3(53) (30.10.2020): 122–29. http://dx.doi.org/10.26456/vtphilos/2020.3.122.
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В статье производится анализ соотношения понятийного поля метафоры и мимезиса в контексте проблемы языка в его истоке. Метафора и мимезис как два вида моделирования реальности культуры могут быть соотнесены в плоскости языковой репрезентации мира. Танец языка - вершина эволюции миметического, а метафора - ключ к пониманию механизма мимезиса в искусстве и культуре. Метафора - это некий более тонкий механизм репрезентации мира посредством языка, высшая точка эволюции миметического (И.-Г. Гердер, Ф. Ницше). Через мимезис в искусстве происходит воссоздание мира. Метафора также соотносит одну вещь с другой через мнимое подобие, через его утверждение, затем отрицание, затем через синтез и создание новой реальности. Метафора не столько создает систему подобий, сколько уничтожает саму возможность существования старых подобий в системе различий. Это еще один пункт, в котором метафора и мимезис сходятся, ибо их предназначение создавать новую реальность культуры. The article analyzes the relationship between the conceptual field of metaphor and mimesis in the context of the problem of language at its source. Metaphor and mimesis as two types of modeling the reality of culture can be correlated in the plane of language representation of the world. The dance of language is the pinnacle of mimetic evolution, and metaphor is the key to understanding the mechanism of mimesis in art and culture. Metaphor is a more subtle mechanism for representing the world through language, the highest point in the evolution of the mimetic (I.-G. Herder, F. Nietzsche). Through mimesis, the world is recreated in art. Metaphor also relates one thing to another through an imaginary similarity, through its affirmation, then negation, then through the synthesis and creation of a new reality. The metaphor does not so much create a system of similarities as it destroys the very possibility of the existence of old similarities in the system of differences. This is another point where metaphor and mimesis converge, for their purpose is to create a new reality of culture.
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Ab. Aziz, Arba’iyah. „Konsep Mimesis Dalam Seni Melayu“. INTERNATIONAL JOURNAL OF ART AND DESIGN 5, Nr. 2 (07.10.2021): 45–58. http://dx.doi.org/10.24191/ijad.v5i2.5.
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The Malays have long utilized natural resources to meet their daily basic needs. Natural resources serve as the basis not only in nutrition, medicine, and equipment but also the basis of inspiration in Malay art. It begins with careful observation and reasoning and then the natural resources are utilized wisely by the Malays. Since most of them live in villages, life is well integrated with the rural environment such as plants, and other various natural elements. With the concept of hometown, they make nature to fulfill their economic and social functions and, also to fill the gap between ethical and aesthetical values, for cultural development. This paper discusses the concept of mimesis or imitation by Malay artisans in the production of art and design motifs. The objective of this study was to document the concept of mimesis in the production of Malay art. There are many art and design motifs that are sourced from nature. It is based on the process of imitation is found in songket weaving motifs, weaving, batik, wood carving, telepuk and others. The research of this study is based on observation methods and interviews with individuals and cultural expert figures. It is hoped that every Malay art will continue to be appreciated and understood as a rich artistic heritage with its values and philosophy that support the community and the culture. The essence of such methodology or procedure is to highlight nature as the source of aspiration and inspiration of art treasures that will ensure the greatness of the Malay art universally.
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Impedovo, Maria Antonietta. „Technical Object, Baby Mimesis, and Affective Scaffolding“. Journal of Posthumanism 2, Nr. 2 (03.07.2022): 151–65. http://dx.doi.org/10.33182/joph.v2i2.1935.
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Posthumanism perspectives see the relationship between humans and technology in inter-connected ways exploring cognition, perception, and awareness co-developmental implications with technology. This article focuses on the interplay between technical objects and the baby niche of development. Two main concepts will guide the discussion: posthuman mimesis and the affective dimension as a possible regulative mediator for object-subject relationships. The broad research question is: How do babies deal with increasingly complex technology daily? Which regulative role does mimesis and affective scaffolding play in regulating babies—technical objects relationship? Considering the two main concepts of baby mimesis and affective scaffolding, I discuss two examples of two babies (one boy and one girl of about 1 year old) via a naturalistic observation of babies interacting with the smartphone. The baby’s niche becomes a mimetic and affective space where the interaction is enacted. The article questions the relationship with the technological in a subject and object dialectic in a time of digital, social, technological, and economic significative transformation.
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Gebauer, Gunter. „The Undifferentiation of Mimetic Violence: From Oedipus to COVID-19“. CounterText 8, Nr. 1 (April 2022): 88–102. http://dx.doi.org/10.3366/count.2022.0258.
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In the Poetics Aristotle limited the concept of mimesis to the aesthetic relationship between drama and the actions of its mythical models. In the 1970s, having found representations of mimetic relationships in the myths themselves, René Girard argued that they are the cause of a violence that disrupts the mythical communities from within. Later, Girard extended the concept of mimesis to natural processes: By destroying the differences between model and imitation mimetic processes in nature and in the social world unleash violence. In this essay two important examples of dedifferentiation are discussed and compared: Sophocles’ Oedipus dramas and the COVID-19 pandemic crisis in our present time. In both examples, successive mimetic processes subvert the natural and economic foundations of the state, and primarily its framework of rights and duties. The pandemic process destroys the biological, political, and social systems of differences and gives rise to fights for domination over the state.
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Cruz, Ariane. „Copying Cosby“. differences 31, Nr. 1 (01.05.2020): 98–134. http://dx.doi.org/10.1215/10407391-8218788.
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This essay employs pornography to explore the politics of race, gender, and sexuality at play in mimetic performances of Bill Cosby’s The Cosby Show. Focusing on Not the Cosbys XXX (2009), a pornographic parody of the sitcom, pornography is shown to be a venue that lays bare the politics of race, sexuality, and gender that energize cultural practices of mimesis. In mimicking The Cosby Show, Not the Cosbys XXX reveals the racial, sexual, and class politics of authenticity critical to mimesis as a salient technology for the (re)production of blackness in visual culture. Pornography’s spectacular multiplex mimetic performance, which the author terms pornmimicry, brings the quotidian dynamics of mimicry into focus as a primary mode of identificatory performance. More than a frame to elucidate racial sexual performance in pornography, pornmimicry helps us to understand the concomitant pleasure (and violence) bound with the broader cultural repetition of blackness as itself a mimetic practice.
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Gantar, Kajetan. „Prevajalska Mimesis“. Keria: Studia Latina et Graeca 2, Nr. 2 (31.12.2000): 13. http://dx.doi.org/10.4312/keria.2.2.13-15.
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Nerodno mi je, ker se je na tem strokovnem posvetu moj referat znašel na prvem mestu. Kajti misli, ki jih bom v njem razpredel, so bolj plod fantazije, bolj nekakšen paignion, kot pa znanstveni referat. Izhajal bom namreč iz predpostavke »kaj bi bilo, če bi bilo ... «, ki po kriterijih resnih zgodovinarjev vznanosti nima kaj iskati. Ker moje razglabljanje izhaja ravno iz takšnih neznanstvenih pogojnikov, se vnaprej opravičujem za svoje odstopanje od standardnega referata. In sicer bom izhajal iz predpostavke: Kaj, če bi Aristoteles v svojo Poetiko vključil tudi prevodno književnost? Kakšni bi bili njegovi pogledi na prevod in prevajanje, kako bi ta pojav opredelil in ovrednotil, kakšna stališča bi pri tem zavzemal? Sam sem si že večkrat zastavil takšna in podobna vprašanja.
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Talvitie, Riikka. „Produktiivinen mimesis“. Musiikki-lehti 51, Nr. 2 (16.08.2021): 153–61. http://dx.doi.org/10.51816/musiikki.110853.
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Tasa-arvon edistämiseksi käytetyt poliittiset, aktivistiset ja tutkimukselliset keinot eivät ole tehonneet taidemusiikin säveltämisen kohdalla vastaavalla tavalla kuin muilla taiteen aloilla. Kirjoittaja Riikka Talvitie ehdottaa Luce Irigarayn produktiiviseen mimesikseen viitaten säveltämisen tapaa, jonka avulla olisi mahdollista tarkastella kysymystä sukupuolesta ja representaatiosta musiikillisen materiaalin tasolla.
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Tate, Daniel L. „Transforming Mimesis“. Epoché 13, Nr. 1 (2008): 185–208. http://dx.doi.org/10.5840/epoche200813120.
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STONE, NOMI. „Imperial mimesis:“. American Ethnologist 45, Nr. 4 (09.10.2018): 533–45. http://dx.doi.org/10.1111/amet.12707.
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Wurgaft, Benjamin Aldes. „Meat Mimesis“. Osiris 35 (01.08.2020): 310–23. http://dx.doi.org/10.1086/709259.
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