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Статті в журналах з теми "Mimesis in literature"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 1 серпня 2024

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1

Mitosek, Zofia. "Mimesis - między udawaniem a referencją." Przestrzenie Teorii, no. 1 (February 15, 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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2

Almeida, Marcos Vinícius. "A literatura como desvio." Jangada: crítica | literatura | artes, no. 8 (May 1, 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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3

Deriu, Fabrizio. "Mimesis and/Is/as Restoration of Behaviour." CounterText 8, no. 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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4

Borch, Christian. "Financial Contagion in an Age of COVID-19: On Biological, Human, and Algorithmic Mimesis." CounterText 8, no. 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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5

Feddern, Stefan, and Andreas Kablitz. "Mimesis." Poetica 51, no. 1-2 (September 22, 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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6

Wolf, Philipp. "Benjamin's Mimetic Re-Turn: Language, Body, Memory." MLN 138, no. 5 (December 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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7

Vélez, Daniel Villegas. "Apparatus of Capture: Music and the Mimetic Construction of Social Reality in the Early Modern/Colonial Period." CounterText 8, no. 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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8

Taylor, James. "Mimesis." Chicago Review 46, no. 1 (2000): 56. http://dx.doi.org/10.2307/25304455.

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9

Alber, Jan, Marco Caracciolo, and Irina Marchesini. "Mimesis." Poetics Today 39, no. 3 (September 1, 2018): 447–71. http://dx.doi.org/10.1215/03335372-7032690.

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10

Lawtoo, Nidesh. "Guest Editor's IntroductionThe Mimetic Condition: Theory and Concepts." CounterText 8, no. 1 (April 2022): 1–22. http://dx.doi.org/10.3366/count.2022.0254.

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Анотація:

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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11

Juodeika, Rytis. "Valery Podoroga’s Theory of Mimesis: the Sensory Aspects of Text Perception." Problemos 101 (April 26, 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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12

Durrant, Sam. "Homo Ecologicus : Animism, Historical Materialism and Planetary Mimesis." MLN 138, no. 5 (December 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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13

Lawtoo, Nidesh. "Wilde's Mime Acts: Performing Minor Mimesis." MLN 138, no. 5 (December 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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14

Bennema, Cornelis. "Mimesis in John 13." Novum Testamentum 56, no. 3 (June 17, 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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15

Ladwig, Patrice, and Ricardo Roque. "Introduction." Social Analysis 62, no. 2 (June 1, 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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16

Gebauer, Gunter. "The Undifferentiation of Mimetic Violence: From Oedipus to COVID-19." CounterText 8, no. 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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17

Nuttall, A. D. "Auerbach's Mimesis." Essays in Criticism 54, no. 1 (January 1, 2004): 60–74. http://dx.doi.org/10.1093/eic/54.1.60.

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18

Bulson, Eric. "Measuring Mimesis." New Literary History 54, no. 4 (September 2024): 1515–45. http://dx.doi.org/10.1353/nlh.2024.a922184.

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Abstract: This essay provides a computational close reading of Erich Auerbach’s Mimesis . In particular, it examines how measurements of its basic building blocks—the chapters, quotations, and pages—can inform our understanding of how Auerbach came to terms with the representation, and distribution, of three thousand years of literary history in a single literary-critical work. By taking the measurements of Mimesis , we are in a better position to assess not only how it functions as a work of literary criticism, but also how it challenges us to imagine the way literary works exist in and over time.

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19

KANG, Eui-huack. "Mimesis and the Power of Literature." In/Outside: English Studies in Korea 46 (May 31, 2019): 273–81. http://dx.doi.org/10.46645/inoutsesk.46.11.

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20

Lawtoo, Nidesh. "Birth of Homo Mimeticus: Nietzsche, Genealogy, Communication." CounterText 8, no. 1 (April 2022): 61–87. http://dx.doi.org/10.3366/count.2022.0257.

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This article develops a genealogical account of the birth of homo mimeticus – out of mimetic communication. While genealogy tends to be suspicious of stable origins, a key advocate of the genealogical method such as Friedrich Nietzsche was deeply interested in diagnosing the evolution of non-verbal forms of ‘communication’ that, in his view, gave birth to language, consciousness, and culture. For the Nietzschean mimetic theory this article proposes, mimesis is thus not simply an image far removed from reality but an all too human, embodied, and relational form of communication that makes Homo sapiens an eminently social species. I argue that Nietzsche’s genealogy of the origins of language (out of mimetic reflexes) opens up a timely alternative to both the Scylla of (post)structuralist accounts of arbitrary linguistic signs and the Charybdis of speculative hypotheses on founding sacrificial murders. In the process, it may also pave the way for recent re-discoveries of the role mimesis played in the birth of that thoroughly original species we call, homo mimeticus.

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21

Rahmawati, Anna Lucy, Lilianny Sigit Arifin, and Yohanes Basuki Dwisusanto. "Pendekatan Mimesis untuk Keberlanjutan Arsitektur Vernakular." Journal of Architecture and Human Experience 1, no. 1 (April 15, 2023): 23–36. http://dx.doi.org/10.59810/ajahe.v1i1.3.

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This paper presents an outline of the literature review and is part of a dissertation research proposal that puts forward a mimetic approach in relation to the preservation efforts for the sustainability of vernacular architecture. The topic put forward is motivated by the discourse of extinction of vernacular architecture and preservation efforts undertaken to maintain and/or maintain its sustainability. The phenomenon of imitation is then presented to show the relationship between the act of imitating with the trace of the sustainability of vernacular architecture. From this phenomenon, it is assumed that the act of imitating as part of a broad concept of mimesis, might be able to offer a new method that is effective and can be used to fill research gaps related to the issue of sustainability of vernacular architecture. This assumption is a motivation to conduct a literature review using an integrative approach to build a theoretical foundation that can produce novelty from planned research. The result of this literature review is a mimetic trilogy diagram, as an approach tool for the sustainability of vernacular architecture.

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22

Rahmawati, Anna Lucy, Lilianny Sigit Arifin, and Yohanes Basuki Dwisusanto. "Pendekatan Mimesis untuk Keberlanjutan Arsitektur Vernakular." Journal of Architecture and Human Experience 1, no. 1 (April 15, 2023): 23–36. http://dx.doi.org/10.59810/archimane.v1i1.3.

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Анотація:

This paper presents an outline of the literature review and is part of a dissertation research proposal that puts forward a mimetic approach in relation to the preservation efforts for the sustainability of vernacular architecture. The topic put forward is motivated by the discourse of extinction of vernacular architecture and preservation efforts undertaken to maintain and/or maintain its sustainability. The phenomenon of imitation is then presented to show the relationship between the act of imitating with the trace of the sustainability of vernacular architecture. From this phenomenon, it is assumed that the act of imitating as part of a broad concept of mimesis, might be able to offer a new method that is effective and can be used to fill research gaps related to the issue of sustainability of vernacular architecture. This assumption is a motivation to conduct a literature review using an integrative approach to build a theoretical foundation that can produce novelty from planned research. The result of this literature review is a mimetic trilogy diagram, as an approach tool for the sustainability of vernacular architecture.

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23

Siemens, Herman. "Mimesis, Metaphysics and Aesthetic Science in Baumgarten and Nietzsche's The Birth of Tragedy." MLN 138, no. 5 (December 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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24

Espina, Eduardo. ""Myesis", mimesis, mathesis." Revista Iberoamericana 60, no. 166 (June 5, 1994): 61–75. http://dx.doi.org/10.5195/reviberoamer.1994.6491.

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25

Blanchard, Marc, Erich Auerbach, Willard R. Trask, David Carroll, Geoffrey Green, and Seth Lerer. "Mimesis, Not Mimicry." Comparative Literature 49, no. 2 (1997): 176. http://dx.doi.org/10.2307/1771344.

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26

Boyd,, John D. "A New Mimesis." Renascence 37, no. 3 (1985): 136–61. http://dx.doi.org/10.5840/renascence198537314.

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27

Hamm, Victor M. "The New Mimesis." Renascence 37, no. 3 (1985): 173–80. http://dx.doi.org/10.5840/renascence198537318.

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28

Sanders, Mark. "Mimesis, Memory,Memorandum." Journal of Literary Studies 25, no. 3 (September 2009): 106–23. http://dx.doi.org/10.1080/02564710902869344.

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29

Newman, Jane O., and Ron Sadan. "The World’s Literatures." Comparative Literature 74, no. 4 (December 1, 2022): 381–403. http://dx.doi.org/10.1215/00104124-9989204.

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Анотація:

Abstract Erich Auerbach (1892–1957), best known as the author of Mimesis: Dargestellte Wirklichkeit in der abendländischen Literatur (1946; Mimesis: The Representation of Reality in Western Literature, 1953), wrote about the eighteenth-century philologist and philosopher of history Giambattista Vico (1668–1744) fifteen times over the course of his life. The translations offered here are among the earliest of these writings. These early essays on Vico refine the picture both of Auerbach himself and of the significance of his work for comparative literary studies today in important ways. First, they allow a reconsideration of the progressivist literary historical secularization thesis often claimed for Auerbach’s oeuvre writ large. Second, they display Auerbach’s early aspiration to reach “ein allgemeineres Publikum” (a more general public) through his work as a “Schriftsteller” (writer). Finally, they open a window onto the Vichian calculus upon which his assessment of the texts discussed in Mimesis may have been based. The modes of representation (Darstellung) Auerbach favored may thus be understood not as part of a restrictive canon but rather as examples of the human “Schauspiel” (drama) and fateful “Lage . . . der Menschen” (human condition) in a world whose literatures reach far beyond the European archive enshrined in Mimesis.

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30

Ermilova, Kira E. "The Works of Charles Sorel in the Context of the Debate on “Vraisemblance” in the French Aesthetics of the 17th Century." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 82, no. 4 (2023): 63. http://dx.doi.org/10.31857/s160578800027391-6.

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The article analyzes the peculiarities of understanding the most important category of verisimilitude (vraisemblance) for the French aesthetics of the 17th century from the point of view of the French writer Charles Sorel, author of the “La vraye histoire comique de Francion” (1623–1633). Sorel attaches great importance to the category of verisimilitude, even to the point that he makes “vraisemblance” the main one for building the evolutionary system of the novel genre. In this case, in order to properly understand his creative and aesthetic views, it seems necessary to determine what exactly he understands by verisimilitude. Considering two fundamental aspects of the category of verisimilitude of the 17th century – rhetorical and mimetic – we analyze the particularities in the understanding of the category of verisimilitude by Sorel. Sorel rejects everything that concerns the rhetorical aspect of verisimilitude, that is, he denies everything that concerns the moralizing attitude of the work, focusing on the mimetic aspect, that is, on the proper embodiment of reality in a work of fiction. Nevertheless, despite the apparent similarity of Sorel’s position with the concept of mimesis, when analyzing his works, we see that his views are so different from the generally accepted model, allowing researchers to talk not about mimesis, but about Sorel’s counter-mimesis. This position anticipated the specifics of the literature of libertinage of the 18th century and the laws of realism in the literature of the 19th century.

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31

Wright, Arthur M. "Book Review: Mimesis in the Johannine Literature." Biblical Theology Bulletin: Journal of Bible and Culture 49, no. 3 (July 8, 2019): 175–76. http://dx.doi.org/10.1177/0146107919852276g.

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32

Hayot, Eric, and Edward Wesp. "Style: Strategy and Mimesis in Ergodic Literature." Comparative Literature Studies 41, no. 3 (2004): 404–23. http://dx.doi.org/10.1353/cls.2004.0032.

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33

Wulf, Christoph. "Mimesis and the Process of Becoming Human: Performativity, Repetition and Practical Knowledge." CounterText 8, no. 1 (April 2022): 46–60. http://dx.doi.org/10.3366/count.2022.0256.

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Although mimetic processes play an important role in the aesthetic experiences of art, literature, music, and theatre, they are also important in other areas. Mimetic processes are central to how human beings develop into humans. Plato and Aristotle were among the first to point this out. More recently, this ancient insight has been confirmed by research in evolutionary anthropology, neuroscience, and cultural anthropology. Cultural learning is essentially mimetic learning. It ensues through relationships with other people, as well as with nature, cultural objects, and artifacts. Hence, mimesis is of central importance for the development of cultural and practical knowledge. In this article, I argue that mimetic processes are processes of repetition and as such they are key elements both of memory and innovative action. They pave the way for innovations in post-literary cultures where a mimetic turn, or re-turn of attention to mimetic processes, is currently underway.

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Opelz, Hannes. "Mimetic Annihilation." CounterText 8, no. 1 (April 2022): 177–205. http://dx.doi.org/10.3366/count.2022.0262.

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What is the relationship between mimesis, biology and identity? I propose to explore this question here by turning to Alex Garland’s 2018 SF film Annihilation. Not least because it is identity that is eponymously annihilated in the film via what could be described as biomimetic processes. At stake in Garland’s film is an infinitely refracting mimetic process of genetic mutations and exchanges resulting in a fundamental alteration of human identity. When faced with ‘the Shimmer’ – the alien life-form causing mysterious transformations in what is called ‘Area X’ – the film’s protagonists are forced to shed their understanding of themselves as irreducibly singular, physically self-contained and conceptually inviolable beings. Revisiting the relationship between deconstruction and dialectics, art and genetics, plasticity and the sublime, the living and death, I argue that Garland’s annihilating mimesis reveals itself as a conditio biologica that puts into question our very notions of what constitutes the human.

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35

Harder, M. Annette. "Insubstantial Voices: Some Observations on the Hymns of Callimachus." Classical Quarterly 42, no. 2 (December 1992): 384–94. http://dx.doi.org/10.1017/s0009838800016013.

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The hymns of Callimachus are generally divided into two groups: the ‘mimetic’ hymns (2, 5 and 6), which seem to be enactments of ritual scenes, and the ‘nonmimetic’ hymns (1,3 and 4), which seem to follow the pattern of the Homeric hymns. Occasionally this distinction has been challenged, for instance by pointing to an' element of mimesis inH. 1, but on the whole the division into two groups has been 1 adhered to rather rigidly. A drawback of this distinction is that it seems to prevent further insight into an important aspect of Callimachus' poetic technique. I think that there is in fact a subtle play with various aspects of diegesis and mimesis which pervades the whole collection of hymns and gives it a certain unity, because it draws attention to the way in which narratives or descriptions are presented in the hymns. Although the emphasis on mimesis or diegesis may vary, none of the hymns can be regarded as diegetic in all its aspects and there is a great deal of fluctuation between, the two modes of presentation both within the collection and within the individual hymns.

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36

Lima, Luiz Costa, and J. Laurenio de Mello. "Social Representation and Mimesis." New Literary History 16, no. 3 (1985): 447. http://dx.doi.org/10.2307/468835.

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37

Dolezel, Lubomir. "Mimesis and Possible Worlds." Poetics Today 9, no. 3 (1988): 475. http://dx.doi.org/10.2307/1772728.

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38

McCabe, John D. "Why a New Mimesis?" Renascence 37, no. 3 (1985): 183–89. http://dx.doi.org/10.5840/renascence198537320.

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39

Trimpi, Wesley. "Mimesis as Appropriate Representation." Renascence 37, no. 3 (1985): 203–8. http://dx.doi.org/10.5840/renascence198537324.

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40

Harb, Lara. "Mimesis and Mythos in Aristotelian Arabic Poetics." Comparative Literature 76, no. 1 (March 1, 2024): 1–19. http://dx.doi.org/10.1215/00104124-10897081.

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Abstract The Aristotelian sense of mimesis (i.e., fictional representation of an evoked world through plot and characters) continues to shape modern views of literature. The medieval Arabic reception of the concept of mimesis and its closely related concept of mythos (fable, story, or plot) through Aristotle’s Poetics reveals a different conception of literature—one that this article argues is not representational but analogical. While Aristotle sees mythos/plot as forming the main vehicle through which mimesis manifests itself in poetry, mythos (khurāfa) according to the philosophers of the Islamic world was irrelevant for the poetic. This is because they understood mythos not as “plot” but as referring, on the one hand, to the fictionality and fantasticness of poetic metaphor, which they deemed inessential for the success of poetry; on the other hand, they understood mythos as “story,” in which case they relegated to it a rhetorical function of persuasion rather than a poetic function of make-believe. Fundamentally, in both the poetic and the rhetorical, mimesis was understood as the expression of the comparable, not the representation of the likeness of an evoked world. This exposes an Arabic conception of “mimesis” that reflects a literature that seeks comparisons and demands the inference of similarities from the reader.

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41

Grethlein, Jonas. "Mimesis and Experience: A Platonic Perspective on Ricoeur's Time and Narrative." Poetics Today 42, no. 3 (September 1, 2021): 361–80. http://dx.doi.org/10.1215/03335372-9026145.

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Abstract Ricoeur's Time and Narrative is duly cited in footnotes but does not seem to have had a strong impact on anglophone narratology. One of the reasons for this is certainly Ricoeur's emphasis on plot, which does not harmonize with the focus on consciousness in cognitive narratology. This article suggests that a reconsideration of the concept of mimesis could help build a bridge between Ricoeur's phenomenological approach and cognitive studies in narrative. More specifically, it argues that Plato's discussion of poetry in the Republic, unanimously criticized by modern scholars, can enrich Ricoeur's concept of mimesis. While Ricoeur follows Aristotle, who ties mimesis to plot, Plato, in Republic 2 and 3, considers mimesis an act of impersonation and thereby paves the way to the level of character, on which cognitive narratologists tend to focus. This article first offers a new reading of the Republic's examination of poetry, trying to show that Plato's account of the effects of poetry on the listeners’ souls resonates with current cognitive approaches. Equipped with this reading, it then turns to Ricoeur again. Ricoeur's description of mimesis III, the reader's adoption of the narrative configuration of time in life, remains vague and abstract. Through its focus on the impact of characters on audiences, Plato's idea of mimesis permits us to integrate a cognitivist perspective into Ricoeur's phenomenological account.

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42

Calinescu, Matei, and Mihai Spariosu. "Literature, Mimesis and Play: Essays in Literary Theory." Comparative Literature 38, no. 1 (1986): 87. http://dx.doi.org/10.2307/1770228.

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43

Park, Soo-yeon. "World Literature, Translation and the Poet of Mimesis." Korean Literary Theory and Criticism 81 (December 31, 2018): 103–28. http://dx.doi.org/10.20461/kltc.2018.12.81.103.

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44

Hartog, Paul Anthony. "Johannine Ethics: An Exegetical-Theological Summary and a ‘Desiderative’ Extension of Mimesis." Religions 13, no. 6 (June 1, 2022): 503. http://dx.doi.org/10.3390/rel13060503.

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If we consider the Johannine literature to have primarily espoused an exemplary (rather than an imperatival) ethical paradigm, our understanding of its moral teaching becomes much richer. The Gospel of John does not provide a moral grammar primarily by conveying a set of commands or prohibitions, but through conformity to a moral example (Jesus Christ himself). More specifically, this paper initially approaches the issue by surveying the uses of the imperative in the Gospel of John, the appearances of ὀφείλειν and καθώς, related moral themes, the descriptions of the two Johannine commandments, and the statements of John 13:14–15. The essay then focuses particularly upon the recent work of Cornelis Bennema on the imitative or “mimetic” ethics of John. Bennema has emphasized the “cognitive mimesis” and “performative mimesis” of Johannine ethics, engendered and enabled by the Paraclete. Finally, through an exposition of John 8 and other relevant texts, this essay contributes to the conversation by adding “desiderative mimesis” to Bennema’s proposed framework. As one’s identity (who I am) is transformed, one’s desiderative inclinations (what I desire) are renewed, resulting in changed behavior (how I act).

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45

R., R., and Ronald Bogue. "Mimesis in Contemporary Theory: An Interdisciplinary Approach. Vol. 2, Mimesis, Semiosis and Power." Poetics Today 14, no. 1 (1993): 231. http://dx.doi.org/10.2307/1773155.

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46

Freitas, Marcus Vinicius. "A mimesis, a floresta de símbolos e o espelho da imitação / Mimesis, Forest of Symbols and Mirror of Imitation." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 4 (December 23, 2020): 52. http://dx.doi.org/10.17851/2358-9787.29.4.52-64.

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Resumo: Este artigo analisa as condições históricas da construção da teoria da mimesis, de Luiz Costa Lima, em face do clima intelectual brasileiro nos anos 1970/1980. Estabelecendo uma distância tanto em relação ao desconstrucionismo quanto ao sociologismo, a teoria da mimesis se afirma como produção de diferença. A argumentação do artigo se desenvolve através de uma comparação do percurso teórico sobre a mimesis empreendido por Luiz Costa Lima com o de José Guilherme Merquior sobre o mesmo tema.Palavras-chave: Luiz Costa Lima; José Guilherme Merquior; mimesis; sistema intelectual.Abstract: This article aims at analysing the historical conditions in which Luiz Costa Lima built his theory of Mimesis troughout the decades of 1970s and 1980s, taking into account the “Brazilian intellectual system”, as the author himself use to call it. Keeping equal distance from the trends of Desconstructionism as well as from the Sociology of Literature, Costa Lima stresses the concept of mimesis as “production of difference”. The argument evolves by a comparison among Costa Limas’s theory and that of José Guilherme Merquior on the same subject of mimesis.Keywords: Luiz Costa Lima; José Guilherme Merquior; mimesis; intellectual system.

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47

Hansen-Löve, Aage A. "Mimesis - Mimikry - Mnemosyne:." Poetica 43, no. 2 (June 27, 2011): 355–89. http://dx.doi.org/10.30965/25890530-04302007.

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48

Hansen-Löve, Aage A. "Mimesis - Mimikry - Mnemosyne:." Poetica 43, no. 3-4 (June 27, 2011): 355–89. http://dx.doi.org/10.30965/25890530-0430304007.

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49

Reinert, Otto. "Ibsen and Mimesis." Scandinavian Studies 82, no. 2 (July 1, 2010): 213–30. http://dx.doi.org/10.2307/40908164.

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50

Angeli, Stefano De. "Mimesis e Techne." Quaderni Urbinati di Cultura Classica 28, no. 1 (1988): 27. http://dx.doi.org/10.2307/20546936.

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