Gotowe bibliografie tematyczne / Mimesis

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Gotowa bibliografia na temat „Mimesis”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 9 czerwca 2025

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Artykuły w czasopismach na temat "Mimesis"

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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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Rybačiauskaitė, Karolina. "Towards a Diffractive Mimesis: Karen Barad’s and Isabelle Stengers’ Re-Turnings." Journal of Posthumanism 2, no. 2 (June 30, 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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Çelik, e. Murat. "Paul Ricoeur'ün Üçlü Mimesis Anlayışı ve Edebiyatın Etkileme Gücü." Posseible 13, no. 1 (July 30, 2024): 1–15. https://doi.org/10.5281/zenodo.12800279.

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Bu yazıda Paul Ricoeur’ün üçlü mimesis anlayışı üzerine yoğunlaşarak yazınsal metinlerin metin dışı dünyaya nasıl göndermede bulunduklarını göstermeye çalışıyorum. Ricoeur’ün mimesis kuramı, Aristoteles’in mimesis anlayışının genişletilmiş ve radikal bir yorumudur. Ricoeur mimesis kavramının tam anlamıyla kavranabilmesi için onu muthos kavramı ile bir bağlılaşıklık içinde yorumlamamız gerektiğini savunur. Öte yandan “muthos”u durağan ve kapalı bir sistem olarak anlaşılan “olay örgüsü” olarak değil “olayörgüleştirme” olarak çevirerek mimetik etkinliğe okuru da içine alan dinamik bir anlam katar. Bu yolla Ricoeur, kurmacanın göndergesel işlevini yeniden tesis eder, okuru edilgen rolünden çıkararak mimetik etkinliğin etkin bir katılımcısı haline getirir ve mimesisi salt bir kopya olarak anlaşılmaktan kurtarıp üretken bir gönderge olarak yeniden yorumlar. Ricoeur’ün yaklaşımı, yapısalcı ve göstergebilimsel eleştirilerin metnin dışına çıkmasını engelleyen “kapalı sistem” anlayışına karşı bir tavır almaktadır. Ricoeur, metnin yaşam, eylem dünyası ile bağlantılı olduğunu savunur, yazınsal metin dolayımlı bir yoldan eylem dünyasına göndermede bulunur ve okurun bu dünyayı kavrama ve anlamlandırma biçimini yeniden şekillendirir. Bu biçimlendirme okuma eylemi esnasında gerçekleşir. Okuma eylemi okurun dünyasından başlayıp yazınsal kurmacanın içinden ilerleyerek yeniden okurun dünyasına dönen çok katmanlı bir süreçtir ve bu süreci anlamak için Ricoeur fenomenolojinin ve hermeneutiğin araçlarına başvurmamız gerektiğini savunur. Bu fenomenolojik hermeneutiğin görevi yaşamdan kaynaklanan ve yaşama doğru akan bu işlemler dizisini yeniden yapılandırmaktır. Sonuç olarak, Ricoeur’ün mimesis kuramı, Platoncu mimesis kavramından Aristotelesçi mimesis kavramına geçişi sağlayarak, kurmacanın göndergesel işlevini sürgün edildiği yerden geri çağırır ve edebiyatın kendine özgü dönüştürücü gücünü ortaya koyarak kurmaca ve gerçeklik arasındaki ilişkiye dair özgün bir açıklama sunar.
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Düttmann, Alexander. "Be Mimetic." Philosophical Literary Journal Logos 34, no. 5 (2024): 5–11. https://doi.org/10.17323/0869-5377-2024-5-5-11.

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The author of the article analyzes mimesis in terms of behavior that does not aim to express and assert selfhood or identity, but only pretends to do so. “Being mimetic” means: “Stop being yourself and be like yourself!” The article reveals the implications and consequences of such behavior or such mimesis. The author recalls the famous anecdote when Theodor Adorno encounters a dog and urges it to be mimetic, placing it in the context of the relationship between mimesis and slapstick comedy. Through the rupture between “being” and “pretending” that emerges in comedy, mimesis becomes a liberating and pacifying power. Another crucial characteristic of mimesis is the transformation of an activity or certain mode of being into an event. The mimesis shows something more than the activity itself. The comedians Beckman and Chaplin do not simply walk around the stage, they come walking: they raise walking to the level of an event. The audience experiences not only what is truly visible, but also what is immaterially present in the atmosphere of the landscape, which is embodied in the encompassing eroticization of the action. Walking, stroll appears here for a reason: the author notes their deep affinity with mimesis — simultaneously coming-and-going, absent and present, a walking to and a walking away. The author notes the gap that arises between mimetic behavior, which means to pretend to be what one is, and pretending of the actor and the comic. This gap reveals the place from which the actor or comic calls for “being mimetic” — the place of art and Kierkegaard’s “refusal” of it.
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Lawtoo, Nidesh. "Posthumanism and Mimesis: An Introduction." Journal of Posthumanism 2, no. 2 (June 30, 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, no. 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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Seif, Farouk Y. "Mutual mimesis of nature and culture: A representational perspective for eco-cultural metamorphosis." Sign Systems Studies 38, no. 1/4 (December 1, 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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Kondakova, Alina. "Violent (Non)Reciprocity: Mimesis and Anti-Mimesis of Conflict." Philosophical Literary Journal Logos 34, no. 5 (2024): 65–84. https://doi.org/10.17323/0869-5377-2024-5-65-84.

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Violence in its genesis is defined by René Girard as a purely human phenomenon, which is conditioned by the ultimate identity of the subjects, the non-recognition of which pushes them to establish a difference, which is impossible due to the illusory nature of the latter. Thus, the mimetic crisis (the crisis of differences), which is almost losing its discontinuity, reveals only a homogeneous form of violence, and it itself is endowed with hypostatic agency by Girard, which means that it’s impossible to overcome the current situation of looping mutual violence from within. The root of violence is what Girard defines as the mimesis of appropriation. The only way to cope with the destructive effects of the human mimetic nature is an individual rejection of violence by imitating a transcendent model unattainable to mimetic rivalry, which violates the principle of reciprocity of mimetism. Consequently, the heterogeneity of the subject necessary to get rid of striving to the extreme appears in Girardian theory only when the metaphysical dimension opens. The author suggests a radical revision of the principles of mimetic theory. The main method of redefining the foundations of mimetic theory turns out to be its ontologization, which ultimately makes it possible to form a socio-political space for resolving the mimetic crisis and to show the possibility of an alternative to the logic of possession. Thus, during the reconstruction of the ontological basis of violence, it is revealed that it is inherent primarily in being itself as part of the mechanism for the production of being, and, consequently, it is neutral, which allows the author to propose a project of an immanent way out of striving to the extreme, by establishing the heterogeneity of both violence and the subject.
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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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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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Rozprawy doktorskie na temat "Mimesis"

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Vavříková, Eliška. "Mimesis a Poiesis." Doctoral thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78216.

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Wilkie, Kate. "Mimesis index symbiosis." Thesis, The University of Sydney, 2011. https://hdl.handle.net/2123/29281.

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This investigation will pose the question: What are the functions of the shadows in key moments in the history of pictorialism? And how these moments, cited, are drawn together to provide an historical and theoretical context, which informs my practice.
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Vana, Gerhard. "Metropolis : Modell und Mimesis /." Berlin : Mann, 2001. http://www.gbv.de/dms/bs/toc/33178727x.pdf.

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Pedroza, Edgar. "Through mimesis and methodology." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/44284.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.<br>Leaf 58 blank.<br>Includes bibliographical references (leaves 54-55).<br>The goal of this document is to outline the trajectory in which I have been working the past several years. I would like to comment and detail the production of several projects, including Site Nine: Indefensible Structures, Text 11: Site Translations, Study For Casablanca: Maps For Access And Improvised Housing, and Lavon, Texas - Levittown, New York. The reach of the projects, and it is perpetually adaptive to new concerns, is not to assign a space between art, architecture, and planning. Even though there is certainly space which the works will invoke between these areas. This document and the projects would question why there should be such a space and what it could achieve. It may be possible to see at such a point that assigning nomenclature can be considered a quick task and the value is the content of a word, not by the name by which it is called. This is not to say meaning and context cannot be derived from the title of disciplines or fields, they in fact provide considerable insight. The aforementioned projects, and those to follow, would look into the social climates of a location and only after considerations of the political, economic, and communicative indicators, courses of intervention would be developed. I would like to note, ever more in the continuation of these works, the implementation of intervention becomes less so. The projects, in chronology, quietly move from methods of production to methods of research. This was due to an increasing appeal to the cultural sensitivity of any and all methods of production, in both domestic and foreign capacities.<br>by Edgar Pedroza.<br>S.M.
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Tedeschi, Francesca <1997&gt. "Mimesis and Surveillance Art." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21291.

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Partendo dalle nozioni fondamentali sul tema del mascheramento e del volto espresse da diversi critici e studiosi come Belting, Bettini, Frontisi-Ducroux, Vernant. A seguire, vi sarà sviluppata un'approfondita elaborazione sul concetto di mimesis. Il lavoro prevede l'analisi di tre case studies nell'ambito dell'arte contemporanea. Gli artisti individuati fanno parte di quella che viene definita corrente della "Surveillance Art", una critica politica ai metodi di sorveglianza sempre più presenti nelle nostre società contemporanee.
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Örnlind, Henrik. "Rekonstruktion av mimesis : Ett försök att tänka begreppet mimesis utifrån Paul Ricoeur och inifrån Martin Heidegger." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-9943.

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This essay tries to investigate the possibility to reconstruct the concept of mimesis in Martin Heidegger’s hermeneutical phenomenology in Sein und Zeit. Paul Ricoeur’s interpretation of the concept of mimesis in Aristotle’s Poetics, develops a new temporal understanding of the mimetic activity, which Ricoeur in his work Time and Narrative, claims to have the possibility to overcome the aporias in the phenomenology of time. With this criticism as the background context for the present study, seeks this essay to pick up Ricoeur’s new conception of mimesis, and use that in a comparative philosophical reflection on the basic concepts in Heidegger’s Sein und Zeit. The main thesis in this essay is that Ricoeur’s concept of mimesis can be rethought and reconstructed as a possibility within Heidegger’s thinking.
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Lyons, Patricia. "Mimesis in practice : an investigation into the employment of the mimetic faculty in fine art practice." Thesis, Open University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287022.

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Ganani-Tomares, Dafna. "Mimesis : Judith Butler, visual practice, tragic art." Thesis, Goldsmiths College (University of London), 2007. http://research.gold.ac.uk/178/.

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The project grounds the use of mimesis in my video art practice. In the written element I query equivalence between mimesis and performativity in Judith Butler's conception; I consider the tragic and hyperbolic faculties of these, as ways of promoting expansion of context in received convention. My video clips have performance in them and mime destructive regimes in mainstream conventions of visual culture, of sexual identity and of political position, to challange these. They mobilize convention and deviation from it, through ineptitude of performance or my ambiguous relation to the convention that I use. Butler conceives the generative possibility in regulation (prohibition and/or "law). This is my source for prioritizing failure, and conceiving mimesis a practice of power in modification. Philippe Lacoue-Labarthe is an additional source in my writing, and Luce Irigaray a hovering presence. They are deployed to support my conviction that speculative theory mimes tragic art; Hegelian dialectical philosophy and Freudian psychoanalytic discourse founded in tragic art endow a mutual system of logic and belief that mobilizes rejection of 'difference'. In these tragic discourses mimesis links death and desire. As a force in hyperbole and the constitutive site of all discursive and artistic conventions or tropes, mimesis may suspend as much as confirm the very truths it promotes. Mimesis may turn or exceed anything that can be mimed - I propose. Throughout the project (art practice and written element) I ask - 'how is it possible to re-conceive the terms of the representational conventions to which I object without sharing in the mechanisms that demote those terms?'
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SILVA, CHRISTIANI MARGARETH DE MENEZES E. "MIMESIS AND COGNITIVE PLEASURE IN ARISTOTLENULLS POETICS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7209@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>A presente dissertação de mestrado tem o objetivo de mostrar os vínculos entre a noção de mimesis, prazer e conhecimento na Poética de Aristóteles. No texto da Poética, dois momentos são importantes para analisar o prazer que o homem experimenta ao estar diante de um mimema: quando o exemplo é uma pintura, e quando o exemplo é uma tragédia. No caso do exemplo pictórico, o prazer é claramente cognitivo: há prazer em reconhecer do que o mimema (a pintura) é mimema. No caso da tragédia a questão é mais complexa, pois ela surte no espectador, ou no leitor, terror e piedade, emoções descritas na Retórica como dores. Na mimesis trágica, o prazer estaria ligado à compreensão de quais ações levam ao desfecho doloroso, sendo então o prazer trágico também cognitivo.<br>This dissertation intends to show the relationship between the notion of mimesis, pleasure and knowledge in Aristotle Poetics. Within the Poetics, two moments are necessary for an analysis of the pleasure that Man experiences when he finds himself before a mimema: the example of painting and the example of tragedy. As concerns the first, pleasure is clearly cognitive: there is pleasure in finding out what the mimema (the painting) is a mimema of. But the case of tragedy is of greater complexity, because tragedy causes terror and pity in the spectator or reader, and such emotions are described as pain in the Rhetoric. In the tragic mimesis, pleasure is derived from the understanding of what actions have lead to the painful outcome, so that tragic pleasure is also of a cognitive kind.
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Valakas, Konstantinos. "Homeric mimesis and the Ajax of Sophocles." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/283656.

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Książki na temat "Mimesis"

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Metscher, Thomas. Mimesis. 2nd ed. Bielefeld: transcript, 2004.

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Nikolaidis, Andrej. Mimesis. Ulqin: Asociacioni Ulqini, 2006.

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

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Metscher, Thomas. Mimesis. Bielefeld: Aisthesis, 2001.

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

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Munteanu, Marius. Mimesis: Parodii. Timișoara: Facla, 1986.

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Schönert, Jörg, and Ulrike Zeuch, eds. Mimesis - Repräsentation - Imagination. Berlin, New York: Walter de Gruyter, 2004. http://dx.doi.org/10.1515/9783110201826.

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Bose, Mandakranta. Movement and Mimesis. Dordrecht: Springer Netherlands, 1991. http://dx.doi.org/10.1007/978-94-011-3594-8.

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D. Dowden, Stephen. Modernism and Mimesis. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53134-8.

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Pasolini, Pier Paolo. La divina mimesis. Torino: Einaudi, 1993.

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Części książek na temat "Mimesis"

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Wulf, Christoph. "Mimesis." In Lecture Notes in Morphogenesis, 327–29. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51324-5_77.

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Wulf, Christoph. "Mimesis." In Hauptbegriffe Qualitative Sozialforschung, 117–19. Wiesbaden: VS Verlag für Sozialwissenschaften, 2003. http://dx.doi.org/10.1007/978-3-322-99183-6_46.

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Woodruff, Paul. "Mimesis." In A Companion to Ancient Aesthetics, 327–40. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781119009795.ch21.

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Wulf, Christoph. "Mimesis." In Handbuch Körpersoziologie, 73–78. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-04136-6_12.

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

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Palaver, Wolfgang. "Mimesis." In Lexikon der Geisteswissenschaften, 557–61. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205790099.557.

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Bowen, Eleanor, and Laura González. "Mimesis." In The Hysteric, 46–73. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003092407-4.

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Konuk, Kader. "Mimesis." In The Routledge Handbook of Reenactment Studies, 142–46. First edition. | New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445637-30.

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Wulf, Christoph. "Mimesis." In Handbuch Pädagogische Anthropologie, 247–57. Wiesbaden: Springer Fachmedien Wiesbaden, 2013. http://dx.doi.org/10.1007/978-3-531-18970-3_21.

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Wulf, Christoph. "Mimesis." In Handbuch Körpersoziologie 1, 105–10. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-33300-3_17.

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Streszczenia konferencji na temat "Mimesis"

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Forni, Riccardo, Danilo Calderonel, Damiano Coato, Gianmarco Dolino, Giuseppe Cesarelli, Carlo Ricciardi, Mario Cesarelli, and Paolo Gargiulo. "Towards Bio-Mimetic 3D Printable Human Anatomies." In 2024 IEEE International Conference on Metrology for eXtended Reality, Artificial Intelligence and Neural Engineering (MetroXRAINE), 1016–21. IEEE, 2024. https://doi.org/10.1109/metroxraine62247.2024.10795909.

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Cerar, Maja, and Liubo Borissov. "Autopoiesis/Mimesis." In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280120.1280136.

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Domínguez, Ignacio X., Rogelio E. Cardona-Rivera, James K. Vance, and David L. Roberts. "The Mimesis Effect." In CHI'16: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2858036.2858141.

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Ramond, Catherine. "Mimesis dramatique, mimesis romanesque chez Sade : une œuvre à deux faces ?" In Sade en jeu. Fabula, 2018. http://dx.doi.org/10.58282/colloques.5865.

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Lee, D., and Y. Nakamura. "Mimesis from partial observations." In 2005 IEEE/RSJ International Conference on Intelligent Robots and Systems. IEEE, 2005. http://dx.doi.org/10.1109/iros.2005.1545256.

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MORETTI SILVA, ANDRESSA, and RAQUEL SCOTTI HIRSON. "Structure and Spontaneity in Corporeal Mimesis and Word Mimesis as Premises to think about Stage Presence." In XXIV Congresso de Iniciação Científica da UNICAMP - 2016. Campinas - SP, Brazil: Galoa, 2016. http://dx.doi.org/10.19146/pibic-2016-51825.

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Dörrenbächer, Judith, Diana Löffler, and Marc Hassenzahl. "Becoming a Robot - Overcoming Anthropomorphism with Techno-Mimesis." In CHI '20: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3313831.3376507.

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BROWN, ERIN, and JORDAN ZLATEV. "BRIDGING THE GAP: FROM BODILY MIMESIS TO SPEECH." In EVOLANG 10. WORLD SCIENTIFIC, 2014. http://dx.doi.org/10.1142/9789814603638_0064.

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Lavranou, E. "Mimesis in Plato and G. Vizyinos: convergences and divergences." In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_172.

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Huang, Bidan, Joanna Bryson, and Tetsunari Inamura. "Learning motion primitives of object manipulation using Mimesis Model." In 2013 IEEE International Conference on Robotics and Biomimetics (ROBIO). IEEE, 2013. http://dx.doi.org/10.1109/robio.2013.6739618.

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Raporty organizacyjne na temat "Mimesis"

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

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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.
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Morgan, Nathaniel R., Donald E. Burton, and Konstantin Nikolay Lipnikov. Mimetic Constraints. Office of Scientific and Technical Information (OSTI), August 2013. http://dx.doi.org/10.2172/1090701.

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Manzini, Gianmarco. The Mimetic Finite Difference Method. Office of Scientific and Technical Information (OSTI), May 2013. http://dx.doi.org/10.2172/1078363.

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Bochev, Pavel, Nathaniel Trask, and Mauro Perego. A meshfree mimetic divergence operator. Office of Scientific and Technical Information (OSTI), August 2019. http://dx.doi.org/10.2172/1763214.

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Hyman, J. M., M. Shashkov, M. Staley, S. Kerr, S. Steinberg, and J. Castillo. Mimetic difference approximations of partial differential equations. Office of Scientific and Technical Information (OSTI), August 1997. http://dx.doi.org/10.2172/518902.

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Klein, Mark. Development of Novel p16INK4a Mimetics as Anticancer Therapy. Fort Belvoir, VA: Defense Technical Information Center, October 2014. http://dx.doi.org/10.21236/ada615123.

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Kroninger, Christopher, Jeffrey Pulskamp, Jessica Bronson, Ronald G. Polcawich, and Eric Wetzel. Bio-Mimetic Millimeter-Scale Flapping Wings for Micro Air Vehicles. Fort Belvoir, VA: Defense Technical Information Center, March 2009. http://dx.doi.org/10.21236/ada496241.

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Fendler, J. H. Photochemical solar energy conversion utilizing semiconductors localized in membrane-mimetic systems. Office of Scientific and Technical Information (OSTI), August 1991. http://dx.doi.org/10.2172/5489231.

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McGregor, Duncan A., Vitaliy Gyrya, and Gianmarco Manzini. M-Adapting Low Order Mimetic Finite Differences for Dielectric Interface Problems. Office of Scientific and Technical Information (OSTI), March 2016. http://dx.doi.org/10.2172/1240815.

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Smith, H. G. Surface-Bound Membrane-Mimetic Assemblies: Electrostatic Attributes of Integral Membrane Proteins. Fort Belvoir, VA: Defense Technical Information Center, October 1988. http://dx.doi.org/10.21236/ada204381.

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