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Books on the topic 'Imitation theory'

Author: Grafiati
Published: 30 June 2021
Last updated: 1 February 2022

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1

Mimesis and science: Empirical research on imitation and the mimetic theory of culture and religion. East Lansing, Mich: Michigan State University Press, 2011.

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2

India, Export-Import Bank of. Innovation, imitation and North South trade: Economic theory and policy. [Mumbai]: Export-Import Bank of India, 2010.

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3

Kvadsheim, Reidar. The intelligent imitator: Towards an exemplar theory of behavioral choice. Amsterdam: North-Holland, 1992.

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4

Branstetter, Lee. Intellectual property rights, imitation, and foreign direct investment: Theory and evidence. Cambridge, MA: National Bureau of Economic Research, 2007.

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5

Literary imitation in the Italian Renaissance: The theory and practice of literary imitation in Italy from Dante to Bembo. Oxford: Clarendon Press, 1995.

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6

Virality: Contagion theory in the age of networks. Minneapolis: University of Minnesota Press, 2012.

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7

Wallbott, Harald G. Recognition of emotion from facial expression via imitation?: Some indirect evidence for anold theory. Leicester: British Psychological Society, 1991.

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8

Violence, desire, and the sacred: Girard's mimetic theory across the disciplines. New York: Continuum, 2012.

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9

That pale mother rising: Sentimental discourses and the imitation of motherhood in 19th-century America. Bloomington: Indiana University Press, 1995.

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10

The whole internal universe: Imitation and the new defense of poetry in British criticism, 1660-1830. New York: Fordham University Press, 1985.

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11

Cizek, Alexandru N. Imitatio et tractatio: Die literarisch-rhetorischen Grundlagen der Nachahmung in Antike und Mittelalter. Tübingen: M. Niemeyer Verlag, 1994.

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12

Literary satire and theory: A study of Horace, Boileau, and Pope. New York: Garland, 1985.

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13

Job, Boethius, and epic truth. Ithaca: Cornell University Press, 1994.

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14

Alice in Quantumland. Wilmslow: Sigma Science, 1994.

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15

Alice in Quantumland: An allegory of quantum physics. New York: Copernicus, 1995.

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16

Robert, Gilmore. Alice in Quantumland. Wilmslow [England]: Sigma Science, 1994.

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17

Robert, Gilmore, and Ye Weiwen yi, eds. Ai li si man you liang zi qi jing. Tai bei shi: Tian xia yuan jian chu ban, 1998.

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18

Bishop, Tom, Gina Bloom, and Erika T. Lin, eds. Games and Theatre in Shakespeare's England. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723251.

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This collection of essays brings together theories of play and game with theatre and performance to produce new understandings of the history and design of early modern English drama. Through literary analysis and embodied practice, an international team of distinguished scholars examines a wide range of games—from dicing to bowling to roleplaying to videogames—to uncover their fascinating ramifications for the stage in Shakespeare’s era and our own. Foregrounding ludic elements challenges the traditional view of drama as principally mimesis, or imitation, revealing stageplays to be improvisational experiments and participatory explorations into the motive, means, and value of recreation. Delving into both canonical masterpieces and hidden gems, this innovative volume stakes a claim for play as the crucial link between games and early modern theatre, and for the early modern theatre as a critical site for unraveling the continued cultural significance and performative efficacy of gameplay today.
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19

Burrow, Colin. Imitating Authors. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198838081.001.0001.

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Imitating Authors analyses the theory and practice of imitatio (the imitation of one author by another) from early Greek texts right up to recent fictions about clones and artificial humans. At its centre lie the imitating authors of the English Renaissance, including Ben Jonson and the most imitated imitator of them all, John Milton. Imitating Authors argues that imitation is not simply a matter of borrowing words, or of alluding to an earlier author. Imitators learn practices from earlier writers. They imitate the structures and forms of earlier writing in ways that enable them to create a new style which itself could be imitated. That makes imitation an engine of literary change. Imitating Authors also shows how the metaphors used by theorists to explain this complex practice fed into works which were themselves imitations, how those metaphors changed, and how they have come to influence present-day anxieties about imitation human beings and artificial forms of intelligence. It explores relationships between imitation and authorial style, its fraught connections with plagiarism, and how emerging ideas of genius and intellectual property changed how imitation was practised. Imitating Authors includes detailed discussion of authors who imitated (notably Virgil, Lucretius, Petrarch, Cervantes, Ben Jonson, Milton, Pope, Wordsworth, Mary Shelley, and Kazuo Ishiguro) and of the theory of imitating authors in Plato, Cicero, Quintilian, Longinus, Castiglione, the Ciceronian controversies of the sixteenth century, in legal and philosophical discourses of the Enlightenment, and in recent discussions about computer-generated poems.
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20

Ren Girards Mimetic Theory. Michigan State University Press, 2013.

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21

Garrels, Scott R. Mimesis and Science: Empirical Research on Imitation and the Mimetic Theory of Culture and Religion. Michigan State University Press, 2011.

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22

Intellectual property rights, imitation, and foreign direct investment: Theory and evidence. Cambridge, Mass: National Bureau of Economic Research, 2007.

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23

Jean, Piaget. Play, Dreams and Imitation in Childhood. Peter Smith Pub Inc, 1988.

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24

McLaughlin, Martin L. Literary Imitation in the Italian Renaissance: The Theory and Practice of Literary Imitation in Italy from Dante to Bembo (Oxford Modern Languages and Literature Monographs). Oxford University Press, USA, 1996.

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25

Atiyah, Jamal A. Islamic Banking: Between Freedom and Organization, Imitation and Ijtihad, Theory and Practice (Islamization of Knowledge Series, No 10). Intl Inst of Islamic Thought, 1991.

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26

Borch, Christian. Gabriel Tarde (1843–1904). Edited by Jenny Helin, Tor Hernes, Daniel Hjorth, and Robin Holt. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199669356.013.0012.

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The financial crisis of 2007–2008, which spread from the United States to other parts of the world, gave impetus to a renewed interest in the concepts of contagion and imitation. These are concepts that figure prominently in the work of the French criminologist and sociologist Gabriel Tarde (1843–1904). Since the late 1990s, Tarde’s work has witnessed a rebirth in social theory. This chapter offers an interpretation of Tarde and highlights some of its implications for thinking about processes and organizations, with an emphasis on the distinction between organizations and organizing and Tarde’s contribution to contemporary organization theory. It first considers some of Tarde’s key ideas, along with biographical details and information about the intellectual climate in which he worked, including Emile Durkheim’s critique of Tarde. It then examines Tarde’s key notion of imitation and discusses imitative economic dynamics.
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27

Hutton, William. Pausanias. Edited by Daniel S. Richter and William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.32.

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Pausanias’s Periegesis, an historically and culturally selective topography of the lower Greek mainland, is unlike any work produced in the Second Sophistic, but there are several features of the text that render it difficult to imagine it as the product of any other period. Pausanias shares with his sophistic contemporaries a nostalgia for the glories of classical Greece, a tendency toward religiosity, a moralistic outlook on history, and a literary taste for learned imitation of classical masters. Yet the particular choices Pausanias makes in each of these areas make him a unique representative of sophistic mentalities. For instance, the mimetic gestures in his work include imitations (nonironic, apparently) of Herodotus and, perhaps, of his reviled compatriot Hegesias of Magnesia, the notorious father of Asianic rhetoric. Pauasanias’s attitude toward the Romans and Roman rule—which occasionally seems more dyspeptic than acquiescent—also sets him apart from his contemporaries.
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28

Phillips, Adam. Emerson and the Impossibilities of Style. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737827.003.0009.

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As a writer Emerson privileges originality and idiosyncrasy over imitation and repetition. This puts him in a paradoxical position when he writes about style. Writers only write because of earlier writers; and they only learn to write, initially, through imitating those they emulate. And to develop a discernible style inevitably involves a certain amount of repetition—of vocabulary, of syntax, of rhythm, and of subject matter. If tradition makes originality possible, as Emerson can’t help but acknowledge, how does the writer sufficiently distinguish himself? And if style is only identifiable through its repetitions, how does a writer sustain his capacity to surprise? By wanting a style that can be consistently new and unprecedented Emerson exposes the impossibilities of style. It is the impossibility of style that at once inspires and encourages Emerson’s writing.
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29

Connolly, Joy. Past Sovereignty. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803034.003.0005.

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Ideas of self-sovereignty and self-sacrifice drew American and French revolutionaries to Roman virtuous exemplars—and into errors of reception, according to prominent contemporaries. Focusing on Benjamin Constant’s and Edmund Burke’s critique of the excited pleasure revolutionaries take in imitating Roman models, this chapter asks what insight into the mechanisms of political change we may gain by studying the revolutionary desire for Rome and the rage felt by the opponents of revolution against that desire. Constant and Burke, insofar as they discuss how the liberal free autonomous self rules itself and relates to others, and how modern thought relates to the past, take up problems still essential to the political thought of modernity. By considering the rhetorical extremes of both liberal and conservative thinkers in their reactions to Roman tradition, we understand better how such critiques of pleasure, desire, and imitation determine the transmission of political ideals over time.
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30

Boyle, Deborah. Health and Order in the Human Body. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190234805.003.0010.

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While Cavendish wrote a great deal about medicine, surprisingly little attention has been paid to this aspect of Cavendish’s thought. This chapter shows how focusing on the themes of peace and order illuminates Cavendish’s medical thinking. The chapter begins by locating Cavendish’s views in historical context, showing that she sided with Galenists rather than iatrochemists such as Paracelsus and van Helmont. Her objections to iatrochemistry are shown to be part of a broader rejection of alchemy. The chapter argues that Cavendish’s views on health, disease, causes of disease, and cures for diseases are firmly grounded in her natural-philosophical thinking, especially her theory of occasional causation and “imitation.”
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31

Valsiner, Jaan. Roots of Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190468712.003.0003.

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In this chapter, the author explores the roots of the phenomena of creativity through exposing the axiomatic basis of the open-systemic nature of all human life, together with the processes of imagination that link the past and the future at the moment of the present. James Mark Baldwin’s notion of persistent imitation is at the root of imaginative acts that give rise to phenomena of the creative kind. Together with William Stern’s personology and Magoroh Maruyama’s focus on amplification of variability (“second cybernetics”), we have the basic building blocks for a theory of creativity that is not reducing the phenomena to common-language explanations.
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32

Grant, Roger Mathew. Peculiar Attunements. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288069.001.0001.

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Peculiar Attunements places the recent turn to affect into conversation with a parallel movement that took place in European music theory of the eighteenth century. During that time the affects—or the passions, as they were also called—formed a vital component of a mimetic model of the arts. Eighteenth-century critics held that artworks imitated or copied the natural world in order to produce copies of the affects in their beholders. But music caused a problem for these thinkers, since it wasn’t apparent that musical tones could imitate anything with any dependability (except, perhaps, for the rare thunderclap or birdcall). Struggling to articulate how it was that music managed to move its auditors without imitation, certain theorists developed a new affect theory crafted especially for music. These theorists postulated that it was music’s physical materiality as sound that vibrated the nerves of listeners and attuned them to the affects through sympathetic resonance. This was a theory of affective attunement that bypassed the entire structure of representation, offering a non-discursive, corporeal alternative. Inflecting our current intellectual moment through eighteenth-century music theory and aesthetics, this book offers a reassessment of affect theory’s common systems and processes. It offers a new way of thinking through affect dialectically, drawing attention to patterns and problems in affect theory that we have been given to repeating. Finally, taking a cue from eighteenth-century theory, it argues for renewed attention to the objects that generate affects in subjects.
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33

The Intelligent Imitator - Towards an Exemplar Theory of Behavioral Choice. Elsevier, 1992. http://dx.doi.org/10.1016/s0166-4115(08)x6016-9.

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34

Nunes, Terezinha. Thinking in Action and Beyond. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190880545.003.0013.

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Before children learn to use language, they learn about the world in action and by imitation. This learning provides the basis for language acquisition. Learning by imitation and thinking in action continue to be significant throughout life. Mathematical concepts are grounded in children’s schemas of action, which are action patterns that represent a logical organization that can be applied to different objects. This chapter describes some of the conditions that allow deaf or hard-of-hearing (DHH) children to learn by imitation and use schemas of action successfully to solve mathematical problems. Three examples of concepts that can be taught by observation and thinking in action are presented: the inverse relation between addition and subtraction, the concepts necessary for learning to write numbers, and multiplicative reasoning. There is sufficient knowledge for the use of teaching approaches that can prevent DHH children from falling behind before they start school.
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35

Houser, Cindy. Imitative research and development in the neo-Schumpeterian theory of growth. 1995.

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36

Gotman, Kélina. Mobiles, Mobs, and Monads. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0006.

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The emergence of crowd theory in nineteenth-century sociology provided a new language for thinking how unruly bodies gather together organically. Drawing on the first large-scale biohistories of the French Revolution, made possible through documents unveiled at the Archives Nationales, theories of crowds, revolutionary and disordered, animal, automatic and ecological, spawned a genealogy of thinking about the way individuals’ movements were rendered—it was thought—primitive in groups. From the ‘Jerks’ in Kentucky and Tennessee to episodes of falling, starting, ticking, and jumping in hospitals, factories and lumber camps, the ‘social body’ appeared to be teetering out of choreopolitical control. Bacchantic drunkenness, like childlike play, epitomized thoughtless imitation and epidemic enthusiasm according to social scientists and neurologists concerned with the political effects of social contagion. Rapidly proliferating automatic gesture provoked crowds, they wrote, to form and significantly to deform—to disorganize—the political, social, and economic spheres, revealing a demos in disarray.
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37

Palaver, Wolfgang. Mimetic Theories of Religion and Violence. Edited by Michael Jerryson, Mark Juergensmeyer, and Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0036.

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This chapter concentrates on the mimetic theory of Rene Girard in evaluating foundational myths of violence. It shows Girard's notion of the scapegoating mechanism, whereby a substitute victim absorbs the mimetic animosities of the entire group and thereby promotes peace, as applicable to the disturbing tendency to direct violence outward toward exogenous groups. According to Girard, competition is the main source of human violence. His explanation, that violence has its roots in competition or mimetic rivalry, contributes to Thomas Hobbes, who also highlighted this cause of violence at the beginning of the modern era. The Abrahamic solidarity with the victim easily becomes an aggressive weapon if taking the side of the victim is not connected with the forgiveness of persecutors. Girard interprets the imitation of Christ in the context of rivalries prohibited in the tenth commandment of the First Testament.
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38

Lebow, Richard Ned. Evolution, Adaptation, and Imitation in International Relations. Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190228637.013.322.

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Evolution, as a biological process and a metaphor, has utility in our understanding of international relations. The former is largely inapplicable for obvious, conceptual, and empirical reasons; but the latter is more promising, though those who use it must be explicit about its limitations. There must be considerations on how evolution contrasts with conscious adaption and imitation, on the argument for the need to distinguish among them analytically and empirically, and on the further exploration of the different conditions in which these other two mechanisms might be relevant.
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39

Hoxby, Blair. Passions. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.29.

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This chapter examines the theory of the passions in relation to early modern theatre. It first considers the reception of Aristotle’sPoeticsand particularly how the writings of ancient critics located the essence of tragedy in the passions that it imitated and aroused. It then turns to John Dryden and John Milton, who both regarded the passions, not ‘character’, as the most important objects of imitation, and reconstructs a critical and poetic world in which the ‘personation’ of passion was thought to be essential to the formal capacities of theatre and the source of the profound collective experiences it made possible. It also explores the passions in dramatic poetry and on stage, along with the emergence of character as a more important unit of dramatic meaning than passion. The chapter concludes by suggesting that William Shakespeare also sought to represent and sway the passions, and therefore did not lie outside the mainstream of early modern theatre.
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40

Jockers, Matthew L. Influence. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037528.003.0009.

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This chapter explores literary influence and the idea that literature can and perhaps even must be read as an evolving system with certain inherent rules. Attempts to demonstrate literary imitation, intertextuality, and influence have relied almost entirely upon close reading. To chart influence empirically, we need to go beyond the individual cases and look to the aggregate. Information cascades theory provides an attractive framework for modeling literary influence and intertextuality at scale. This chapter discusses the results of the author's thematic-stylistic analyses of nineteenth-century novels using Gephi software to identify signs of historical change from one book to the next. The data reveal that the corpus appears to behave in an evolutionary manner. At the macro scale, we see evidence that theme and style are influenced by time and author gender. The findings suggest that a writer's creativity is tempered and influenced by the past and the present, by literary “parents,” and by a larger literary ecosystem.
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41

Beattie, R. Mark, Anil Dhawan, and John W.L. Puntis. Difficult eating behaviour in the young child. Oxford University Press, 2011. http://dx.doi.org/10.1093/med/9780198569862.003.0016.

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Appetite 114Common feeding problems in 1–5 year olds 116How to increase energy intake 117Food refusal is common in early life. During the first year infants will try food because they are hungry, or because they are using their mouths to explore the environment. Later on, there has to be motivation to try new foods, and this usually comes from imitation of other people eating. In early childhood it is the presentation of safe and socially appropriate foods and their repeated ingestion that leads to them being liked....
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42

Pollard, Tanya. Imitating the Queen of Troy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793113.003.0003.

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Chapter 2, “Imitating the Queen of Troy,” explores responses to Greek tragic women in Kyd’s Spanish Tragedy and Shakespeare and Peele’s Titus Andronicus, two early revenge tragedies that both feature raging, grieving mothers and sacrificial young women framed among Greek allusions. Both plays also reflect metatheatrically on the nature of tragedy and link it with appeals to sympathy, suggesting that their attention to Greek legacies and tragic female icons accompanies a broader interest in the genre and its effects. Tracing Kyd’s Greek training at Merchant Taylors’ School, and Peele’s Greek literary experience at Oxford, the chapter identifies Greek debts in these two early commercial tragedies as establishing a crucial foundation for the genre’s development in England.
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43

Lee, Alexander. History, Providence, and Empire. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199675159.003.0003.

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A few years after the humanist dream of a revivified Empire had put down roots in Padua, a parallel strain of imperialist thought was germinating in Verona. There in the shadow of the cathedral library, a small group of like-minded figures were attempting to revive classical culture more through the study of history and philology than through stylistic imitation. Like their Paduan contemporaries, they were deeply troubled by the condition of their times, and lamented the emergence of factionalism and tyranny. They, too, longed for peace and liberty, and saw the Empire as their best hope. But as this chapter shows, they were more concerned with the fate of humanity as a whole than with that of a single city; and rather than relying on the letter of feudal law, they instead founded their imperialism on a deep appreciation for the Roman past and the Church Fathers.
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44

Hui, Isaac. ‘For pleasing imitation of greater men’s action’: Nano the Anamorphic Ape. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423472.003.0002.

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Discussing Volpone with the paintings of Velázquez, Holbein, and Shakespeare’s King Richard III, this chapter argues that the dwarf is an important character as he relates to concepts such as anamorphosis, imitation, death, castration, and the Lacanian concept of the gaze. Not only is there a dwarfish quality within Volpone, it suggests that the signification of the ape is related to the ‘gold’ in Volpone’s shrine, meaning that the dwarf’s representation can be read as the play’s critique of nascent early modern capitalism.
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45

Young, Serinity. Apsarās: Enabling Male Immortality, Part 1. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780195307887.003.0007.

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Apsarās are ancient Indian flying divinities. Although they are wingless, their iconography reveals their power of flight. They function in both Hinduism and Buddhism, although in distinct ways in each religion. Overall, they are under the power of the god Indra, who sends them out to seduce celibate ascetics who challenge his power. The ascetics are powerless against such ravishingly beautiful, sexual, and coquettish women. Like the valkyries, the apsarās carry fallen warriors to heaven, but in these Eastern traditions, they are given to the warriors. One sign of their pervasiveness was their imitation by devadāsīs, beautiful and talented dancers who danced before the gods in Hindu temples. Buddhists picked up on their themes as consummate seductresses; in an ancient Buddhist epic, the Buddha uses them to disillusion his half-brother.
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46

de Vignemont, Frédérique. My Body Among Other Bodies. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198735885.003.0008.

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Are there body representations that are interpersonal, and if so, do they erase the distinction between self and others? This chapter will assess the implications of interpersonal body representations not only for social awareness but also for self-awareness. We shall see that in order to respect bodily congruency, imitation and vicarious bodily sensations exploit body representations that qualify as being shared between self and others. But what exactly is involved in such interpersonal representations? This chapter argues that because body representations can be interpersonal, they are impersonal. One may then ask: does one need a specific ‘Whose’ system for distinguishing one’s own body from other bodies, in the same way that it has been suggested that the sense of agency relies on a ‘Who’ system?
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47

Goswami, Usha. 1. Babies and what they know. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199646593.003.0002.

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‘Babies and what they know’ explores the early development of children both before birth and during the first stage of childhood, focusing in particular on the importance of interaction. The child starts to learn even before it is born. After birth, babies are capable of learning a great deal from facial cues and the sound of language. They seem fascinated by the human face. This intrinsic interest in faces and eyes has been linked to how we acquire language. Studies on imitation, joint attention, and socio-moral expectations have shown that infants and toddlers start to develop psychological understanding early on.
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48

O’Collins, SJ, Gerald. The Inspired Scriptures. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824183.003.0006.

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Unlike the living, interpersonal events of divine revelation, the inspired Scriptures are written texts. They record and interpret events and words of revelation, but also witness to and interpret other matters (e.g. Leviticus and Song of Songs). While being under a special, God-given impulse to write, the sacred authors yet used their human abilities: some were more gifted than others (compare 1 Chronicles with Luke), and they wrote in different genres (e.g. proverbs, letters, psalms, gospels, and apocalypses). Although some biblical writers produced works of considerable beauty, their literary level was not necessarily exceptional. Nor did they automatically enjoy the potency of some later, non-inspired works (e.g. Augustine’s Confessions and the Imitation of Christ). Like the charisms of prophecy and apostleship, the gift of inspiration was not uniform. All those responsible for producing biblical books were inspired, but some (e.g. Paul and the evangelists) enjoyed a ‘higher’ degree of inspiration.
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49

Brontës, The. Tales of Glass Town, Angria, and Gondal. Edited by Christine Alexander. Oxford University Press, 2010. http://dx.doi.org/10.1093/owc/9780192827630.001.0001.

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We pretended we had each a large island inhabited by people 6 miles high.' In their collaborative early writings the Brontës created and peopled the most extraordinary fantasy worlds, whose geography and history they elaborated in numerous stories, poems, and plays. Together they invented characters based on heroes and writers such as Wellington, Napoleon, Scott, and Byron, whose feuds, alliances, and love affairs weave an intricate web of social and political intrigue in imaginary colonial lands in Africa and the Pacific Ocean. The writings of Glass Town, Angria, and Gondal are youthful experiments in imitation and parody, wild romance and realistic recording; they demonstrate the playful literary world that provided a 'myth kitty' for their early - and later - work. In this generous selection the writings of Charlotte, Emily, Anne, and Branwell are presented together for the first time. The Introduction explores the rich imaginative lives of the Brontës, and the tension between their maturing authorship and creative freedom. The edition also includes Charlotte Brontë's Roe Head Journal, and Emily and Anne's Diary Papers, important autobiographical sources.
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50

Carlson, Marvin. 1. What is theatre? Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199669820.003.0001.

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‘What is theatre?’ discusses the origins of theatre and how it has developed in numerous ways in different communities and cultures, from classical Greece to medieval Japan and Italian Renaissance theatre to 19th‐century Europe, resulting in a vast array of modern‐day forms. Theatre is built upon what appear to be universal human activities—imitation, storytelling, and performance. Taking the artist-oriented point of view, the question ‘what is theatre?’ can be answered by considering the different artistic and social assumptions within which theatre artists have created their work. If the focus is upon reception, the answer changes and becomes whatever an audience can be convinced to see as theatre.
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