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1
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.
3
Vana, Gerhard. "Metropolis : Modell und Mimesis /." Berlin : Mann, 2001. http://www.gbv.de/dms/bs/toc/33178727x.pdf.
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4
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.
5
Tedeschi, Francesca <1997>. "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.
6
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.
7
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?'
9
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.
10
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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Gülgönen, Séline. "La mimesis musicale dans l'oeuvre de Platon." Paris 10, 2008. http://www.theses.fr/2008PA100039.
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Ce travail se propose de déterminer la nature, le fonctionnement et les enjeux de la mimesis musicale dans les Dialogues de Platon. Il souhaite donc contribuer aux études de la pensée platonicienne de la musique en prenant pour point d'appui le concept de mimesis, qui se trouve par là même éclairé d'un jour nouveau. Pour Platon en effet, la musique ne se définit pas, ou pas essentiellement, comme “art des sons” mais elle est avant tout une imitation sensible des mouvements de l'âme, et elle a pour charge d'en transmettre certains aux autres âmes. Car la pensée platonicienne ne sépare jamais ce que peut faire la musique de ce qu'elle doit faire, tant sur le plan psychologique que politique – comme on le voit dans la République et dans les Lois. Mais le pouvoir imitatif de la musique ne se limite pas aux âmes individuelles : la musique imite aussi en effet les mouvements cosmiques – comme on le voit dans le Timée. Par son pouvoir imitatif, la musique peut alors devenir une véritable technique hygiénique et thérapeutique qui relie l'âme et le corps aux mouvements du monde, lui-même pourvu de qualités musicales. Ainsi articulée au concept de mimesis, la musique se révèle être un intermédiaire essentiel entre l'intelligible et le sensible, qui lui permet de jouer un rôle central dans la théorie de l'âme, de la Cité et du monde<br>This work focuses on the nature, the operating and the goals of musical mimesis in Plato's Dialogues. It should contribute to the study of platonician thought, while also shedding a new light on the concept of mimesis. In Plato's thought, music is not – or not essentially – an “art of sounds”. It is primarily a tangible imitation of the movements of the soul, an can also serve to propagate them to ether souls. Platonician thought never separates what music can do from what it should do, as can be seen in the Republic and the Laws. But the imitative power of music is not limited to individual souls : music can also imitates cosmic movements, as can be seen in the Timeaus. Through this imitative capacity, music can therefore become hygienic and therapeutic technique, linking the soul and the body to the movements of the world, which is also invested with musical qualities. In the light of mimesis, music proves to be an essential mediator between intelligible and sensible, thus playing an important role in the theory of the soul, the City and the world
12
Panteli, Maria. "Mimesis and construction : rethinking sociology of art." Thesis, Goldsmiths College (University of London), 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539861.
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Adams, David Alexander. "Mimesis and Modernism: Jacques Maritain's Early Aesthetics." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20849.
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Jacques Maritain’s early secular aesthetic theories have been interpreted too hastily. The goal of this study is to offer a more accurate reading of them than has been formulated previously. It is also to appraise them, as regards their merits as explanations of concrete phenomena—this has not been done before. In order to achieve these aims, Maritain’s principal early work on aesthetics Art et scolastique will be analysed at length, herein. The problematic methods by means of which the scholarly tradition has interpreted this book will be examined, and their influence on its reception will be assessed. Maritain’s elementary philosophy will be described, insofar as it is related to his early aesthetics. A sketch of Art et scolastique will be drawn, in order to clarify the various purposes to which Maritain puts its disparate sections. This is necessary, if confusion is to be avoided. Maritain’s new early secular aesthetic theories will then be identified, and evaluated. Special attention will be paid to his early theory of mimesis, which is quite ingenious. It will be shown that his new early secular aesthetic theories are far more original and far more penetrating than they have been represented to be, even by those scholars who are most under Maritain’s spell. As a result, it will be seen that these theories deserve much closer consideration than they have so far received.
14
Richard, Christophe. "La théorie aristotélicienne de la mimesis poétique." Paris 1, 1992. http://www.theses.fr/1992PA010562.
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Étude la poétique d’Aristote visant à faire apparaitre l'originalité de la conception aristotélicienne de la "mimesis"poétique et ce en comparaison avec l'approche platonicienne de la question. Seront analysés dans ce but : l'origine (nature), les différents lieux d'intervention (éducation, expression poétique, peinture, musique) ainsi que les effets principaux (plaisir, purification) propres à la "mimesis" telle qu'Aristote l’a déterminé<br>Study of Aristotle's poetics aiming at showing the original feature of the Aristotelian conception of the poetical "mimesis" and this, in comparison with the platonic approach of the question. Tn this aim, the following points will be analyzed : the origin (nature), the different domains where it can be found (education, poetical expression, painting, music) as well as the main effects (pleasure, purification) characteristic of the "mimesis" determined by Aristotle
15
Stork, Peter Robert. "Girard's mimetic theory and the image of God in man: A preliminary theological perspecitve of human mimesis." Thesis, Australian Catholic University, 2002. https://acuresearchbank.acu.edu.au/download/fb2c8cf57f73eabd2f8e67a9d266c1c4fdc70bf22bd1ed7812c90b39a1b792bc/5150276/Stork_2002_Girards_mimetic_theory_and_the_image.pdf.
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This study seeks to establish a link between Girard's mimetic anthropology and the Biblical notion that man is created in the image and likeness of God. While Girard developed deliberately an anthropology without reference to theology, this study - in an attempt to show that human mimesis makes also sense theologically - has taken creation theology as its starting point. By reviewing three Girardian authors, Alison, Bailie and Schwager, the thesis that mimesis belongs to man as a creature before God and is therefore inseparable from his response to God and from man's representational role in creation was further developed. To test it, the Genesis Prologue, contemporary trinitarian discourse and the life of Jesus were probed for the presence of mimetic patterns. The findings showed that the phenomenon of human mimesis seems to be profoundly linked to the purposes of God in creation and redemption. The Biblical dictum of man's creation in God's image means that humanity was conceived in and created as the earthly counterpart of trinitarian love. Therefore, the conclusion that the origin of human mimesis must ultimately be traced to the Trinity itself in whose image human existence has its being is seen as reasonable. At the same time, human mimesis in its present condition, represents at best a structure of hope for man's inner core of imitative desire fixated in acquisitive mode may be converted to one that imitates Christ's sacrificial love so that in the final analysis, human mimesis exists for doxological reasons.
16
Grahn, Mikael, and Niklas Karlsson. "A World of Our Own : Mimesis as Relatability." Thesis, Blekinge Tekniska Högskola, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14642.
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Pellis, Vivien C., and mikewood@deakin edu au. "Inspiration and Mimesis in Plato's criticism of poetry." Deakin University. School of Social Inquiry, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.124541.
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Plato criticizes poetry in several of his dialogues, beginning with Apology, his first work, and ending with Laws, his last. In these dialogues, his criticism of poetry can be divided into two streams: poetry is criticized for either being divinely inspired, or because it is mimetic or imitative of reality. However, of the dialogues which criticize poetry in these ways, it is not until Laws that Plato mentions both inspiration and mimesis together, and then it is only in a few sentences. Furthermore, nowhere in the dialogues does Plato discuss their relationship. This situation has a parallel in the secondary literature. While much work has been done on inspiration or mimesis in Platos criticism of poetry, very little work exists which discusses the connection between them. This study examines Platos treatment - in the six relevant dialogues - of these two poetic elements, inspiration and mimesis, and shows that a relationship exists between them. Both can be seen to relate to two important Socratic-Platonic concerns: the care of the soul and the welfare of the state. These concerns represent a synthesis of Socratic moral philosophy with Platonic political beliefs. In the inspiration dialogues, Ion, Apology, Meno, Phaedrus and Laws, poetic inspiration can affect the Socratic exhortation which considers the care of the individual soul. Further, as we are told in Apology, Crito and Gorgias, it is the good man, the virtuous man - the one who cares for his soul - who also cares for the welfare of the state. Therefore, in its effect on the individual soul, poetic inspiration can also indirectly affect the state. In the mimesis dialogues, Republic and Laws, this same exhortation, on the care of the soul, is posed, but it is has now been rendered into a more Platonic form - as either the principle of specialization - the one man, one job creed of Republic, which advances the harmony between the three elements of the soul, or as the concord between reason and emotion in Laws. While in Republic, mimesis can damage the tripartite soul's delicate balance, in Laws, mimesis in poetry is used to promote the concord. Further, in both these dialogues, poetic mimesis can affect the welfare of the state. In Republic, Socrates notes that states arc but a product of the individuals of which they are composed Therefore, by affecting the harmony of the individual soul, mimesis can then undermine the harmony of the state, and an imperfect political system, such as a timarchy, an oligarchy, a democracy, or a tyranny, can result. However, in Laws, when it is harnessed by the philosophical lawgivers, mimesis can assist in the concord between the rulers and the ruled, thus serving the welfare of the state. Inspiration and mimesis can thus be seen to be related in their effect on the education of both the individual, in the care of the soul, and the state, in its welfare. Plato's criticism of poetry, therefore, which is centred on these two features, addresses common Platonic concerns: in education, politics, ethics, epistemology and psychology.
18
McCombie, Duncan. "Classical mimesis : literary problems in fiction and reality." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399438.
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Truscott, John Robertson. "Studies in mimesis in Greek literature before Aristotle." Thesis, University of Southampton, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236402.
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Guerra, Leonor Martinez de Castro. "Mimesis e Alteridade na obra de Jean Painlevé." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/11637.
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Dissertação de mestrado para obtenção do grau de mestre em Ciências da Comunicação, Arte e Comunicação.<br>Parte-se da obra de Jean Painlevé, mais especificamente do objecto (DVD) Science is
Fiction: 23 Films of Jean Painlevé, na tentativa de distinguir o trabalho criativo da arte, da ciência e da
filosofia; as disciplinas lutam entre si contra a Urdoxa de cada uma. Que o discurso científico possa
interessar à arte não é surpreendente, trata-se de satisfazer a sede daqueles que procuram, para além do
que é corrente, o que é vital. Não é com as mesmas ferramentas que arte e ciência procedem a essa
busca, mas ao fazê-lo, partilham a mesma alma e estão expostas à mesma força. Introduz-se a
discussão em torno da mimesis, para elucidar as relações entre realidade, pensamento e linguagem, que
num limite constitui a expressão e o arquivo de uma herança filosófica. Posteriormente, reflecte-se
sobre a dualidade homem/animal, e sobre a afinidade mimética como dimensão central que funda a
possibilidade de emancipação na obra do filósofo. E propõe-se reforçar a dimensão mimética da
constituição do anthropos, isto é, da participação das faculdades estéticas e práticas do sujeito nas
relações de alteridade.
21
McVittie, Marina P. de. "Eris the impulse at the root of mimesis /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/8308.
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Sousa, Jose Renato de Araujo. "Mimesis e educação nas Leis de Platão : formação moral da psykhe." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251691.
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Orientador : Lidia Maria Rodrigo<br>Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-08-13T20:13:25Z (GMT). No. of bitstreams: 1
Sousa_JoseRenatodeAraujo_D.pdf: 999757 bytes, checksum: ecc4a90849f730bb05b99d0874a7dc81 (MD5)
Previous issue date: 2009<br>Resumo: A teoria da mímesis na filosofia de Platão, quase sempre vista no âmbito estético, foi na maioria das vezes interpretada na tradição filosófica e literária como uma teoria negativa. Acreditamos que isso decorre de uma leitura e interpretação um tanto apressada dos diálogos, que não considera o aspecto educacional da atividade mimética. Uma teoria da educação em Platão jamais poderá se dissociar da questão da mímesis. Divergindo da interpretação corrente, que tem destacado mais o papel negativo da mímesis na formação do homem, esta tese tem o intuito de investigar o caráter positivo da mímesis platônica no processo de aprendizagem e aquisição de conhecimentos para a formação moral. Destacando-se a importância dessa mesma teoria na trajetória intelectual desse filósofo, partimos de um pressuposto ou hipótese de que Platão revisa a teoria da mímesis no seu último diálogo as Leis, acentuando sua importância na formação moral da psykhé.<br>Abstract: The theory of mimesis on Plato's philosophy it almost always was seen in aesthetics sphere and it was interpreted in philosophic and literary tradition like a negative theory. We need that your cause was the accelerate reading and analysis that not considered the educational aspect of mimetic activity. Plato's the theory of education could never set apart the mimesis issue. In contrast with the current interpretative thread, which has pointed out the most the negative aspect of mimesis in men's development, this thesis intends to ferret about the positive aspect of Plato's mimesis in the learning process e knowledge acquisition for the moral development. Emphasizing the importance of this theory the philosopher?s intellectual track, it is supposed that Plato in his last dialog, the Laws, revise the theory of mimesis stressing its importance in moral development of psyche.<br>Doutorado<br>Filosofia e História da Educação<br>Doutor em Educação
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Stala, Krzysztof. "On the margins of reality : the paradoxes of representation in Bruno Schulz's fiction." Doctoral thesis, Stockholm : Almqvist & Wiksell, 1993. http://catalogue.bnf.fr/ark:/12148/cb37667617p.
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Japaridze, Tamar. "The Kantian subject, sensus communis, mimesis, work of mourning." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ27788.pdf.
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Richter, Olaf. "Anamnesis - Mimesis - Epiklesis : der Gottesdienst als Ort religiöser Bildung /." Leipzig : Evang. Verl.-Anstalt, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2645513&prov=M&dok_var=1&dok_ext=htm.
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Bunce, Guy. "Mimesis, memory, and borrowed materials : a portfolio of compositions." Thesis, Royal Holloway, University of London, 2013. http://repository.royalholloway.ac.uk/items/42704772-0cd6-4edc-8bf7-a6c34d1dbe8b/1/.
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This thesis consists of a portfolio of nine musical compositions with accompanying recordings and commentary. The works included range from solo chamber music to large ensemble and explore the notions of mimesis, memory, and borrowed materials in musical composition. The commentary begins by providing a framework and historical context to the portfolio and in particular explores mimesis as an æsthetic device across the centuries and art forms. Music for amateurs and multiple tempi are then presented as two sub facets within the main research before a detailed exploration of the various source materials ensues. The commentary examines different approaches taken to an eclectic mix of source materials including popular music, hymns and plainchant, and music from the classical canon. Questions raised by writing music with multiple tempi or for amateurs are addressed before a general conclusion examining approaches to melody, harmony, rhythm, and form, across the portfolio.
27
Somerville, James Alexander. "The concept of mimesis in sixteenth century literary theory." Thesis, Queen's University Belfast, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239223.
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Heled, Mali. "The cracked lookingglass : James Joyce, Virginia Woolf and 'mimesis'." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407017.
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Branco, Ana Lucia. "Tutaméia: do chiste à mimesis. A respeito da família." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-01122009-123414/.
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Pensando a literatura como um fenômeno de linguagem que não dispensa a experiência sociocultural em sua feitura, o presente trabalho se volta à última obra não-póstuma de Guimarães Rosa, que desponta por certas singularidades intrínsecas, Tutaméia, com o fim de apreender como a arcaica e tradicional sociedade patriarcal se configura no âmbito privado, a Família. Tomando o chiste enquanto procedimento formal dialético, de revelar e esconder, de desconcertar e esclarecer, de tapar e descobrir, percebe-se que a conjectura subjaz à manutenção do modelo familiar, pelo masculino, enquanto, pelo feminino, há tendência à fratura e/ou ruptura do mesmo. Por tais constatações, estrutura-se o estudo em três blocos discursivos. Ao primeiro cabe enfocar certas especificidades do corpus literário; o segundo procede em torno da crítica literária, de onde se introduz um matiz diferenciado; e, por fim, considerando todo o escrito de antes, o último incide na interpretação temática mais apurada a partir de duas estórias: Desenredo e Esses Lopes.<br>Thinking about literature as a language phenomenon that doesnt dispense with sociocultural experience in your structure, this work focus on the last Guimarães Rosas nonposthumous production that appears for certain intrinsical singularities, Tumatéia, with the objective to get how the tradicional and archaic patriarchal society configure through the private dimension: the Family. Taking about joke while formal dialectic procedure, to reveal and hide, to disconcert and clear, to cover and discover something, we realize that the conjecture to maintain the family model by male, while, by female, there is the tendence to break or rupture the same. According to such considerations, the study is divided by three discursive parts. To the first we focus on certain corpus literary specifics; the second one is around the literary critical part, where we introduce a different nuance, and at the end, considering everything that has already presented before, the last one is about the theme interpretation more refined from two stories: Desenredo and Esses Lopes.
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Choi, Seong-Man. "Mimesis und historische Erfahrung : Untersuchungen zur Mimesistheorie Walter Benjamins /." Frankfurt am Main : P. Lang, 1997. http://catalogue.bnf.fr/ark:/12148/cb37539679x.
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Palmer, F. "Style and mimesis in the name of Walter Benjamin." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/9w184/style-and-mimesis-in-the-name-of-walter-benjamin.
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This study locates the consistency of Benjamin’s philosophy in its deployment of style. Since the style of his philosophy corresponds to its object, it always manifests differently. But the principle of its presentation remains the same: it is deployed to induce in the reader an act of mimetic assimilation to the constructive principle of the text. The purpose is to bypass theory by effectuating praxis directly in an act of what is here called “staging.” Such direct effectuation of praxis by prose is the only way of avoiding contradiction in a philosophy committed to the linguistic nature of recognition. If all factual knowledge derives from a communion with the thing in its name by an act of ecstatic praxis, then this same principle must apply to the presentation of knowledge itself. While this principle had always implicitly informed Benjamin’s practice, it was only later that he recognised how the symbolic character of language on which his concept of the name is based presupposes the mimetic faculty of man. The key to grasping the mediation he once claimed to exist from his linguistico-philosophical standpoint to the approach of dialectical materialism is the priority that each assigns praxis. The development of the concept of similitude in terms of a theory of the faculty of mimesis between 1928 and 1933 sets the stage for the materialist appropriation of the conceptual resources of theology that characterises his late philosophy. The role of style and mimesis in the staging of his philosophy has been obscured until now by a neglect of the interdependency of symbolic character and mimetic praxis; by the interpretation of his style in terms of the performative speech act; and by a failure to address part of the reason for his prioritisation of Plato and Kant above all other philosophers, namely the role of dialogue in Plato and the mystical terminology of Kant.
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Biddle, Ian Duncan. "Autonomy, ontology and the ideal : music theory and philosophical aesthetics in early Nineteenth Century German thought." Thesis, University of Newcastle Upon Tyne, 1995. http://hdl.handle.net/10443/371.
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This thesis falls into two distinct parts. The first gives an account of the economic and social factors which contributed to the emergence of the new post- Cartesian world order in early nineteenth-century Germany and attempts to ground the German response to the French theories of mimesis in this broader context. The second, larger, part engages in an analysis of the philosophical aesthetics of the critic and writer Wilhelm Heinrich Wackenroder, and the Idealists Friedrich Wilhelm Joseph Schelling and Georg Wilhelm Friedrich Hegel, paying particular attention to the notions of musical closure embedded in the their usage or intimation of the terms autonomy, ontology and the ideal. To this end, this thesis attempts to analyse the relationship between the organic structures of early nineteenth-century Naturphilosophie and aesthetic approaches to music from that same period.
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Wright, Judd Seth. "The foundations of productive history in mimesis and narrative identity /." Click here for download, 2006. http://wwwlib.umi.com/cr/villanova/fullcit?p3206989.
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Lamarre, Paul Anthony. "Mimesis and generality in the late eighteenth-century English novel." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/NQ45699.pdf.
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Georganta, Konstantina. "Modern mimesis : encounters between British and Greek poetry, 1922-1952." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1196/.
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This thesis considers the crisis in the portrayal of national spaces and national identities, insecure in the multiplicity of their cultural roots and thus diasporic and hybrid, from 1922, a year marked for its importance in the disintegration of imperial Britain and in the positioning of Greece on the threshold of its European literary Modernist inheritance, until 1952, the year of Louis MacNeice’s observations of Greece in his poetry collection Ten Burnt Offerings. The boundaries of cultures, states, religious beliefs and genders are considered in the figures of T.S. Eliot’s Mr. Eugenides, C.P. Cavafy’s Myris, Kostes Palamas’s Phemius, W. B. Yeats’s Crazy Jane and Demetrios Capetanakis’s Greek Orlando and the Greek space is explored as John Lehmann’s Mediterranean home and Louis MacNeice’s Easter gathering. The opening chapter considers the bardic performance of Yeats and Palamas’s poetic alter-egos and their respective progress towards a fusion with the feminine and a battle with the modern. Smyrna, an area of contention for British imperial and Greek irredentist claims raising questions about the stability of national states and national identities, is discussed in Chapters 2 and 3 in the way it informed the construction of identities in Eliot’s The Waste Land and Cavafy’s poetry, respectively. Chapters 4 and 5 consider the literary encounter between Capetanakis and Lehmann, a pair that advanced the dissemination of modern Greek poetry in Britain. The final chapter of the thesis examines MacNeice’s poetry and radio features inspired by Greece in an effort to explore how the imagining of Greece has developed both visually and metaphorically in the post-war years.
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Hubble, Rebecca Louise. "Structures of representation : metaphor and mimesis in Jacques Derrida's Glas." Thesis, Queen Mary, University of London, 2003. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1836.
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This thesis is an explication of Glas, a text which reflects Derrida's profound respect for the Hegelian dialectic, a structure in which each part has and knows its place. But Glas also works to expose a fundamental contamination between Hegelian conceptuality and those elements of textuality which the dialectic seeks to subordinate to, or expel from, itself. One such area of contamination is that of representation. For while Hegel determines representation as (the) outside of truth, Derrida demonstrates that this very determination is in fact structured and instituted by those `outsides. ' One such `outside' is that of family relations, which Hegel utilises as a metaphor for the relations of the dialectic in general. The question Derrida raises is whether this recourse to the family metaphor is a matter of pedagogy and exemplarity, or whether it conforms to a more fundamental necessity? This question forms the focus of Chapters One and Two of this thesis, which explore Derrida's reading of the Hegelian family as both a moment on the path to absolute knowledge and as a metaphor whose capacities disrupt and re-write the concept of metaphoricity. However Derrida's question also points to a more fundamental problematic which Chapter Three will address. For what is it that determines and sanctions this opposition of inside and outside, that underpins these relations of production, of metaphoricity and representation? The answer to this is, I believe, mimesis. By transporting Derrida's understanding of mimesis into the context of the Hegelian family and Glas, it becomes possible to see the crucial role that this concept plays in the Hegelian dialectic, a role which also points the way to a philosophy that is not bound always to repeat the same, but which is open to chance and necessity, and to the possibility of writing philosophy differently.
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Gomes, Guilherme Fóscolo de Moura. "A fúria do comentário: hipertrofia hermenêutica na era da mimesis." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8978.
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Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro<br>Esta tese pretende discutir a história da modernidade como a história do abandono do corpo. A era moderna é a era da mimesis e, como tal, faz da interpretação um componente necessário do horizonte histórico imposto por ela mesma. A interpretação veio para ficar: mas as sucessivas tentativas de apropriação do mundo pelos conceitos anestesiaram os sentidos do homem moderno. Os excessos hermenêuticos contribuíram para um empobrecimento da experiência da arte. A pós-modernidade se abre, para nós, como um novo horizonte histórico, e oferta-se como oportunidade para recuperarmos aquilo que perdemos: o nosso corpo, os nossos próprios sentidos.<br>This thesis aims at discussing the history of modernity as the history of the abnegation of the body. The modern era is the era of mimesis and, as such, it makes of interpretation a necessary component of the historic horizon imposed through modernity itself. Interpretation is here to stay: but the successive attempts of world appropriation by concepts anesthetized the senses of the modern man. The hermeneutic excesses contributed to an impoverishment of art experience. Post-modernity opens itself for us as a new historic horizon, offering the opportunity to recover what we have lost: our body, our senses themselves.
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Ludwig, Carlos Roberto. "Mimesis of inwardeness in Shakespeare's drama : The Merchant of Venice." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/71936.
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Esta Tese de Doutorado tem por objetivo discutir a questão da mimesis da interioridade no Mercador de Veneza, de William Shakespeare. A pesquisa está embasada na obra Inwardness and Theater in the English Renaissance, de Maus (1995), e na obra Shakespeare Philosophy, de McGinn (2007), na crítica literária da peça. Maus apresenta a interioridade como um constructo social e cultural da Renascença Inglesa. Ela analisa a interioridade tomando como base a oposição entre aparências, consideradas falsas e enganosas na época, e interioridade, que era tida como manifestações sinceras e verdadeiras das dimensões interiores do indivíduo. Contudo, McGinn vai além da discussão de Maus sobre interioridade, ao perceber que Shakespeare representou as dimensões obscuras incontroláveis do indivíduo. Ele apresenta as forças misteriosas que controlam os pendores interiores das personagens. Além disso, a tese busca analisar a constelação de motivos e a retórica da interioridade que representam sentimentos interiores na peça de Shakespeare. Parte da hipótese de que a mimesis shakespeariana da interioridade é representada em sinais, sutis tais como os silêncios, os não-ditos, as rupturas de linguagem, gestos corporais, pathos, contradições de ideias e pensamentos, a consciência, vergonha e atos falhos. Ademais, a mimesis shakespeariana da interioridade é construída através do artifício do espelhamento que é a representação das dimensões interiores e os pendores da mente nos sentimentos, ideias, gestos, pensamentos, comportamento e atitude de outras personagens. Na verdade, Shakespeare não inventou a interioridade, mas aprofundou a representação da interioridade introduzindo traços inovadores na linguagem do drama. Este trabalho também discute o estranho desenvolvimento da crítica sobre a peça, apresentando que a crítica dos séculos XVIII e XIX lia Shylock como um herói trágico, ao passo que a crítica do século XX lia Shylock como um vilão cômico, provavelmente influenciada pelo antissemitismo da primeira metade do século. Essa pesquisa foca sobre a estranha relação entre Antonio e Bassanio, assim como sua relação com Shylock. Sua relação é representada como homoerótica e o desejo de um frívolo sacrifício de Antonio por Bassanio sugere a interioridade de Antonio. Shylock é também representado como o pai primordial da peça e esse detalhe sugere a causa da tristeza de Antonio no começo da peça. Analisa também o teste dos escrínios de Portia e demonstra seu desejo de defraudar o testamento de seu pai, tão logo ela pede que se toque uma canção que sugere em suas rimas o verdadeiro escrínio. Discute os problemas da consciência de Launcelot e da interioridade de Jessica. Analisa também a relação distante entre Jessica e Shylock, como também sua partida da casa de seu pai e roubo de seu dinheiro, como uma forma de afrontar o poder patriarcal. Centra-se também na cegueira de Shylock para com as intenções reais de sua filha. Interpreta a cena do julgamento de Shylock e como Portia forja um julgamento fraudulento, anulando o contrato de Shylock a tomando sua propriedade. Apresenta uma discussão sobre a mimesis shakespeariana de interioridade, com base nas considerações de Auerbach e Dubois, assim como discute o problema do gênero da peça, sugerindo que a peça não é uma mera comédia, mas uma tragicomédia.<br>This Doctorate thesis aims at discussing the issue of mimesis of inwardness in The Merchant of Venice, by William Shakespeare. This survey is based on Maus‘ Inwardness and Theater in the English Renaissance (1995), McGinn‘s work Shakespeare Philosophy (2007) and the literary criticism on the play. Maus presents inwardness as social and cultural construct of the English Renaissance. She analyses inwardness based on the opposition between appearances, considered false and deceitful in the age, and inwardness, which was taken as true and sincere manifestations of the inward dimensions of the self. However, McGinn goes beyond Maus‘ discussion on inwardness, perceiving that Shakespeare represented the uncontrolled obscure inward dimensions of the self. He presents the mysterious forces which control the characters‘ inward dispositions. Moreover, the thesis aims at analysing the constellation of motifs and the rhetoric of inwardness which represent inward feelings in Shakespeare‘s play. It parts from the hypothesis that Shakespearean mimesis of inwardness is represented in subtle signs such as silences, non-said, breaks in language, bodily gestures, pathos, contradictions in ideas and thoughts, conscience, shame, and verbal slips. Furthermore, Shakespeare‘s mimesis of inwardness is contructed through the mirroring device which is the representation of a character‘s inward dimensions and dispositions of the mind in other character‘s feelings, ideas, thoughts, gestures, behaviour and attitude. Actually, Shakespeare did not invent inwardness, but he deepened the representation of inwardness introducing innovating traits in language in the drama. This work also discusses the awkward development of the criticism on the play, presenting that the 18th and 19th century criticism read Shylock as a tragic hero, whereas 20th century criticism read Shylock as a comic villain probably influenced by anti-Semitism of the first half of the century. This research focuses on the awkward relationship between Antonio and Bassanio, as well as their relationship with Shylock. Their relation is depicted as homoerotic and Antonio‘s desire of a frivolous sacrifice for Bassanio suggests Antonio‘s inwardness. Shylock is also depicted as the primordial father of the play and such detail hints at the cause of Antonio‘s sadness in the beginning of the play. It analyses Portia‘s casket trial and demonstrates her desire of outwitting her father‘s will, as soon as she demands to play a song which suggests in its rhyme the true casket. It discusses the problems of conscience in Launcelot‘s and Jessica‘s inwardness. It also analyses the distant relationship between Jessica and Shylock, as well as her leaving her father‘s house and taking his wealth, as a way of affronting the patriarchal power. It focuses on Shylock‘s blindness towards his daughter‘s real intentions. It analyses the trial scene and how Portia forges a fraudulent trial, undoing Shylock‘s bond and taking his property. It presents a discussion on Shakespeare‘s mimesis of inwardness, based on Auerbach‘s and Dubois‘ assumptions, as well as discusses the problem of the genre of the play, suggesting that the play is not a mere comedy, but a tragicomedy.
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Böhn, Andreas. "Vollendende Mimesis : Wirklichkeitsdarstellung und Selbstbezüglichkeit in Theorie und literarischer Praxis /." Berlin ; New York : W. de Gruyter, 1992. http://catalogue.bnf.fr/ark:/12148/cb370622687.
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Rosen, Valeska von. "Mimesis und Selbstbezüglichkeit in Werken Tizians : Studien zum venezianischen Malereidiskurs." Berlin : Imorde, 2001. http://catalogue.bnf.fr/ark:/12148/cb388316053.
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Hooker, Richard. "The structures and significance of mimesis in Adorno's 'Aesthetic Theory'." Thesis, University of St Andrews, 1997. http://hdl.handle.net/10023/14778.
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This thesis starts from the point of departure of asking why Aesthetic Theory is difficult to read. In answering this question it is argued that the difficulty of the work is a function of the unusual claims Adorno makes about the relation between art and philosophy, and that the presentation of these arguments exemplifies these claims. This complimentary relation between form and content has implications for the way Adorno can be understood as engaging the idea of mimesis. Aesthetic Theory should be understood as a theory of mimesis in modern art and as a mimetic work itself. Given this idea, the question of the readability of the work emerges as inseparable from the explicit claims Adorno makes for mimesis. If the work ultimately cannot be understood because Adorno does not define his concepts, or it is unexplainable for any other reason, then mimesis will be shown to be untenable. The issue of the readability of Aesthetic Theory is explored in the Introduction through a discussion of issues arising from the recent history of Adorno's reception. Particular attention is paid to the differences between critics who have emphasised the significance of the particular claims Adorno makes against those who emphasise his method. Chapter I rejects this distinction while it argues that the character of Adorno's writing is uneven, that is to say, Aesthetic Theory cannot usefully be read in a uniform way. Chapter I considers different aspects of this lack of uniformity and argues that the identity of Aesthetic Theory as 'philosophy' is often tenuous as it moves in and out of other modes of argument. Chapters 2 and 3 look at different aspects of the identity of Aesthetic Theory as philosophy. Chapter 2 explains the strategic significance of the work as a continuation of a tradition of philosophy from Hegel onwards. This tradition, it is argued, has explicitly understood the problem of philosophy as recognising itself as experience while it attempts to describe experience. Chapter 3 extends this theme into a consideration of philosophical form. If philosophy is understood as a mode of experience then its form as well as its content is significant. Through a consideration of Heidegger and Derrida, Chapter 3 examines the uniqueness of the philosophical form of Aesthetic Theory. Having made this distinction. Chapter 4 reads Aesthetic Theory as philosophical form, describing aspects of it as mimetic. Chapters 5 and 6 then give detailed readings of parts of Aesthetic Theory which are particularly relevant for an understanding of Adorno's theory of the mimetic potential of modern art. The concluding chapter argues that the internal consistency of Aesthetic Theory in its practice and definition of the crisis of mimesis in modernism has significant implications for the practice of art history and criticism of twentieth-century art.
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Ceuppens, Godelieve Bambi. "Mimesis, mirror and mask : modern imaginaries of self and other." Thesis, University of St Andrews, 1997. http://hdl.handle.net/10023/15388.
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This dissertation set out to investigate the thesis that the Modern Western Self has "created" Self as a self-creating, creative category, and in denying all possibilities of originality to the Other, has "created" the Other as an essentially imitative creature, a mirror-image of Self. I have in particular compared the conceptualisations of "woman", "child" and "primitive" as Other with specific reference to the British colonial experience in Ireland and the overseas territories. I argue that these ideas go back to a conceptualisation of the human self as dual, consisting of self and mask, and self and social roles. I discuss the development of this discourse against the background of the growth of imperialism which coincided with a didactic discourse and the spread of syphilis which led to an increased control of children's and women's sexuality, and was a key concept in the conceptualisations of the notions of age groups, genders, classes, and "races". Starting point for my discussion of imitation is Aristotle's conceptualisation of mimesis in the performative arts in Poetica, and Modern debates on his ideas. I propose that the notion of "imitation" as an attribute of the Other needs to be historicised and situated within the development of what has been called a domesticated imperialism, i.e. an imperialism built on the domestic idea which unites people under the symbolic roof of the imperial "home" but separates them in terms of age, gender, class, and "race". This domesticated imperialism has its roots in the mercantile imperialism which developed from the sixteenth century onwards and came to full fruition in the nineteenth century. It attributed a special role to reproductive sexuality in that it was through the control of inter- and intra-sex sexual relations that boundaries between ages, classes and "races" could be maintained or broken down; the rhetoric of the Other's imitativeness was therefore closely tied up with the rhetoric of control of the Other's sexuality. While my investigations have confirmed the significance of the notions of creativity and createdness, originality and imitativeness for ideas of Selfhood and Otherness, they have established that notions of "womanhood" as opposed to "manhood", "childhood" as opposed to "adulthood", "primitivity" as opposed to "civilisation" are always impinged upon by age, gender, sexual object choice, marital status, occupation, ethnicity, "race", class, religious affiliation etc. They have made clear that Self and Other engage in a number of relations rather than merely being oppositional, and that creativity and createdness, originality and imitativeness can, to various degrees, be associated with either category. However, towards the end of the nineteenth century an academic discourse developed which conceptualised Self and Other as antithetical and mutual exclusive, if sometimes complementary categories. This discourse which established the supremacy of the Western adult male of independent means developed partially in reaction to public debates which questioned the primacy of the father and recognised the creative powers of the sexual, social and/or "racial" Other for the socialisation of the Self Recent studies of the Other in post-colonial theory, gender studies and social anthropology are still largely predicated on dichotomous models developed as part of this discourse in that they conventionally portray the Other as a mirror-image of the Self There is thus a congruence between (i) ideas on the relationship between Self and Other; (ii) ideas on the study of Self and Other; and (iii) ideas on the analysis of Self and Other. The dissertation proceeds to discuss the benefits of a theoretical perspective that dissolves these dichotomies through an analysis of nineteenth century discourses which acknowledged that Self and Other were mutually constituted, and a critical assessment of recent theories in psychoanalysis, anthropology and gender studies on the relation between Self and Other, with particular reference to the notion of performance which allows us to reestablish a link with Aristotle's Poetica. The dissertation goes on to question the opposition between originality and imitativeness, and concludes with the suggestion that the very concept of Self and Other needs qualification.
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Lyle, Messina. "Reviving the Subject: A Feminist Argument for Mimesis in Literature." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2204.
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For centuries we have taken for granted Aristotle's assertion that fiction must encourage emotional identification by representing life realistically. With the development of a more pluralistic society, Postmodernist writiers have come to question that assumption. Having repudiated our ancestor's notions of identity, these writers create stories whose sole purpose is to comment on other stories. However, as some feminist critics have shown us, we must each have an identity in order to have the collaborative society that is the Postmodernist's goal. Therefore, the notion that a story must make a sensory impression on us and stand on its own as a story in itself is just as valid today as it was in the past.
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Soares, Ãngela Vieira. "As estÃtuas vivas de Fortaleza-Ce: performance, mimese e gesto." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=18711.
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CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior<br>Esta pesquisa aborda as estÃtuas vivas de Fortaleza-Ce em dois espaÃos de atuaÃÃo: a PraÃa do Ferreira e a Avenida Beira-Mar. Durante o ano de 2013 e 2014 os performers foram observados, escolhidos e entrevistados tomando como base das entrevistas as narrativas de suas vidas/trajetÃrias. Esse recurso foi utilizado para a compreensÃo dos sujeitos e de suas opiniÃes sobre o trabalho que fazem e como norteador/inspirador do caminho teÃrico e analÃtico a seguir. Partindo das observaÃÃes e entrevistas a anÃlise teÃrica se alicerÃa na mimese, entendendo-a como a base do fazer e do conhecer desses performers cujas estÃtuas vivas sÃo resultados de um processo de colagem/(re)criaÃÃo de diversas influÃncias e imagens advindas do que circula em seu meio sociocultural, uma imitaÃÃo do estatuÃrio material (morto) cujo suporte à o corpo prÃprio dos performers (vivo). Sobre este par de termos opostos essenciais (morto x vivo) se desdobra outro fundamental para prÃtica e seu fim estÃtico: imobilidade x mobilidade. O jogo entre estes opostos complementares està na performance de estÃtua viva e no seu comunicar-se silencioso com o pÃblico (na relaÃÃo entre ambos) pautado em certa teatralidade. As estÃtuas vivas tambÃm evocam uma tensÃo entre o legitimado e seu lugar marginal tanto no que se refere à arte como ao trabalho formal, tensÃo entre outros termos tambÃm opostos que definem o fazer desses performers como um gesto social. Pesquisa desenvolvida junto ao LaboratÃrio de InvestigaÃÃo em Corpo, ComunicaÃÃo e Arte â LICCA-CNPq.<br>This research deals with the living statues of Fortaleza-Ce in two spaces of acting: Ferreira Square (PraÃa do Ferreira) and Beira-Mar Avenue. During the years of 2013 and 2014 the performers were observed, chosen and interviewed, having as the bases of the interviews the narratives of their lives/trajectories. This resource was used for the comprehension of the individuals and their opinions about the work they do and as guide/inspiration for the theoretical and analytical path to follow. Departing from the observations and interviews the theoretical analysis founds itself on mimesis, understanding it as the base of the work and knowledge of these performers whose living statues are the result of a process of collage/(re)creation of diverse influences and images coming from what circulates in their sociocultural environment, an imitation of the material statuary (dead) whose base is the performersâ own bodies (alive). Upon this essential pair of opposed terms (dead x alive) unfolds another fundamental one for the practice and its esthetical end: immobility x mobility. The game between these complementary opposed is in the performance of the living statue and in its silence communication with the audience (in the relation between both) guided in certain theatricality. The living statues also evoke a tension between the legitimate and their marginal place as regards the art and formal work, tension between other and also opposed terms that define the doing of these performers as a social gestus. Research developed with the Laboratory of Investigation in Body Communication and Art (LaboratÃrio de InvestigaÃÃo em Corpo ComunicaÃÃo e Arte) â LICCA-CNPq.
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Rocha, Jéssica Aracelli. "Borges e o realismo: o outro da literatura borgeana." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-18032009-103159/.
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Busca compreender o conto El Otro, de Jorge Luis Borges. Para tanto, efetua sua análise formal; acrescida pelo exame de um corpus secundário. Uma vez que a narrativa apresenta dois personagens autobiográficos, sendo o jovem similar e estranho à produção deste autor, é necessário comparar tal personagem à obra borgeana de juventude, no tocante ao realismo, engajamento, biografismo e ultraísmo. Verifica que o Borges de 1918 a 1920 não exibe tais concepções literárias, exceto pelo ultraísmo. Na segunda etapa juvenil, entre 1921-1928, encontra ultraísmo, biografismo e alguns pontos de contato, com elementos do realismo. Contudo, observa a existência de realismo, engajamento, biografismo e ultraísmo no contexto literário argentino dos anos vinte. Os três primeiros rasgos estão especialmente ligados ao grupo boedista. No entanto, como o conto alude ao Modernismo, entende-se que não só o Realismo, mas toda a geração de vinte é contemplada na figura do personagem mais novo. Na leitura do conto, entende que as personagens produzem um diálogo entre a obra borgeana e a geração argentina dos anos vinte, na qual, o jovem Borges da realidade fica incluso. A matéria sob o diálogo, tanto nas estruturas quanto na temática, consiste de uma série de questionamentos ao realismo. Essas representações também podem ser lidas enquanto duas atitudes fundamentais diante da arte literária. Entende-se que em Nota sobre Walt Whitman há uma oposição aos postulados boedistas, no tocante ao biografismo. Como a segunda etapa juvenil apresenta concepções biografistas, verifica que este ensaio de 1932 (a Nota) assinala uma mudança. Por isto, propõe que a polêmica Boedo-Florida foi um momento importante para a transformação ocorrida entre a obra juvenil e a obra madura. Em seu Prólogo, Domingos F. Sarmiento: Facundo, encontra objeções ao realismo e ao engajamento. Nos pressupostos, foi destacado que o autor começa um combate aos postulados realistas na década de trinta. Uma vez que o prólogo é escrito em 1974, compreende-se, que através de seus ensaios, o autor está em constante diálogo com o realismo. Interpreta em La Postulación de la Realidad a divisão borgeana entre dois modos de fazer literatura: o clássico e o romântico. Com isso, entende-se que estes modos literários genéricos, propostos neste ensaio, possuem um paralelo com os modos derivados das personagens e estruturas do conto analisado. Ao mesmo tempo, percebese que o modo realista / romântico (expressivo) está ligado à obra juvenil, ao passo que o modo clássico (alusivo) é associável à obra borgeana da maturidade. Ademais, no conto, El Milagro Secreto, encontra uma das técnicas clássicas, gerando alta verossimilhança (efeito buscado pelas obras românticas). Igualmente esta é uma técnica recorrente em algumas obras realistas. Assim, o uso dos detalhes circunstanciais representa um ponto de contato entre a obra borgeana e o realismo. No entanto, concluise que a utilização deste recurso ainda pode ser vista como uma crítica a esta estética.<br>This dissertation tries to understand El Otro, a short story by Jorge Luis Borges. In order to achieve this goal, we make an analysis of it and of a secondary group of texts. As the narrative has two autobiographical characters, and the youngest of them seems different from the author and his first books, it is necessary to compare this character with this authors youth works (essays) in relation to realism, engagement, tendency to look for relations between literature and the authors life (called biographism in this paper), and ultraism. The first chapter confirms that the young Borges (1918-1920) does not present these characteristics in his evaluation of literature, except for ultraism. In a later period of his youth (1920-1928), there is ultraism and biographism and some relations with the realistic way of literary construction. However, there were realism, engagement, biographism and ultraism in the Argentine literary context of the twenties. The three first can be associated with the writers in the Boedo group. However, the story alludes to Modernism too; so it is possible to understand that the young character in the short story is related to the generation of Argentine writers in the twenties. The reading of the short story shows that it produces a dialog between the borgesean literature and the Argentine writers of the twenties, including the young Borges. The dialog and the narrative resources reveal that realism is criticized. These two representations can be read as two generic ways to deal with literature. So, it is possible to state, that in Nota sobre Walt Whitman, there is an opposition to the way boedists dealt with biographism. As Borges second youth period does not present biographism, we affirm that this essay captures a transformation. Therefore, we can confirm that the controversy between the groups, Florida and Boedo, may have been an important moment between Borges youth books and his well known works. In his preface Domingos F. Sarmiento: Facundo, new objections to realism and engagement can be found. In the first chapter it is asserted that Borges fights realism since the thirties. Thus, if the preface was written in 1975, we can assert that this authors critical texts are in dialog with realism. The essay La Postulación de la Realidad shows the borgesean classification of literature: the classical way and the romantic way of writing. Thus, we verify the existing parallel between this essay and the short story analyzed. This text shows that the romantic way has a connection with the second period of Borges youth works, while the classical way is related to his mature works. Other borgesean short story, El Milagro Secreto, uses one of the classical techniques to generate verisimilitude, but this is a technique commonly used by realists too. Therefore, this story shows that there is a contact point linking the borgesean works and realism. This same technique keeps a final objection to realism.
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Miller, Gregg Daniel. "Mimesis in communicative action : Habermas and the affective bond of understanding /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/10773.
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Giugliano, Marcello. "Translating mimesis of orality: Robert Frost’s poetry in catalan and italian." Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/127352.
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This doctoral thesis studies the recreation of spoken language in Robert Frost’s poetry and the translation of Frost’s poetry that has been carried out by Agustí Bartra and Miquel Declot into Catalan, and by Giovanni Giudici into Italian. The study starts by describing the meaning of the term mimesis of orality and its main features. It stresses the complexity of the phenomenon, which can be explained better only if a more eclectic theoretical and methodological approach is adopted that focuses on both the linguistic features of mimesis of orality and their potential effect on readers. Frost’s poetic language is well-known for its spoken quality. In this research I define the main traits of the poet’s language and then study how his evocation of orality has been interpreted by the poet-translators Bartra, Desclot and Giudici and how it has been interwoven with their own poetic style. The translations share common traits that can be traced back to the stylistic patterns of Frost’s original poetry. However, they also present divergent stylistic solutions that can be ascribed to each translator. By contextualizing these personal translation choices a better understanding is achieved of the causes that have motivated them, which ultimately brings the research to explore issues related to the translators’ ideology and cultural commitment.<br>Aquesta tesi doctoral estudia la recreació de la llengua parlada en la poesia de Robert Frost i la traducció de la poesia de Frost duta a terme per Agustí Bartra i Miquel Desclot al català, i per Giovanni Giudici a l’italià. L’estudi descriu el significat del terme mimesi de l’oralitat i les seves principals característiques. Posa l’accent en la complexitat del fenomen, que es pot explicar millor si s’adopta un enfocament teòric i metodològic més eclèctic, que se centra tant en els aspectes lingüístics de la mimesi de l’oralitat com en els possibles efectes en els lectors. El llenguatge poètic de Frost és ben conegut per la seva qualitat parlada. En aquesta recerca defineixo en primer lloc els trets principals de la llengua del poeta i estudio de quina forma la seva evocació de l'oralitat ha estat interpretada pels poetes i traductors Bartra, Desclot i Giudici i de quina manera s'ha entrellaçat amb l’estil poètic propi dels traductors. Les traduccions comparteixen trets comuns que es remunten als patrons estilístics de la poesia original de Frost. No obstant això, també presenten solucions estilístiques divergents que poden ser atribuïdes a cada traductor. Mitjançant la contextualització d’aquestes opcions personals de traducció és possible aconseguir una millor comprensió de les causes que les han motivades. Això porta la investigació a examinar qüestions relacionades amb la ideologia dels traductors i el seu compromís cultural.
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Dovey, Lindiwe. "African film adaptation of literature : mimesis and the critique of violence." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423936.
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Cojocaru, Daniel. "Violence and dystopia : mimesis and sacrifice in contemporary Western dystopian narratives." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:f3f2848d-d349-4dcd-8bff-810010a2e8e3.
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Violence and Dystopia is a critical examination of imitative desire, scapegoating and sacrifice in selected contemporary Western dystopian narratives through the lens of René Girard’s mimetic theory. The first chapter offers an overview of the history of Western utopia/dystopia with a special emphasis on the problem of conflictive mimesis and scapegoating violence, and a critical introduction to Girard’s theory. The second chapter is devoted to J.G. Ballard’s seminal novel Crash (1973). It is argued that the car crash functions as a metaphor for conflictive mimetic desire and leads to a quasi-sacrificial crisis as defined by Girard for archaic religion. The attempt of the medieval propheta-figure to resolve the crisis through violence fails and leads to potential violence without end. The third chapter focuses on the psychogeographical writings of Iain Sinclair. Walking the streets of London he represents the excluded underside of the world of Ballardian speed. The walking subject is portrayed in terms of the expelled victim of Girardian theory. The fourth chapter considers violent crowds as portrayed by Ballard’s late fiction, the writings of Stewart Home and David Peace’s GB84 (2004). In accordance with Girard’s hypothesis, the discussed narratives reveal the failure of scapegoat expulsion to restore peace to the potentially self-destructive violent crowds. The fifth chapter examines the post-apocalyptic environments resulting from failed scapegoat expulsion and mimetic conflict out of control, as portrayed in Sinclair’s Radon Daughters (1994), Margaret Atwood’s The Handmaid’s Tale (1985) and Oryx and Crake (2003) and Will Self’s The Book of Dave (2006). In conclusion it will become evident that Girard’s theory forms an indispensable analytical tool uncovering the pivotal themes of imitation and scapegoating in the discussed narratives: themes largely ignored in current scholarship on dystopia and secondary literature on the focussed authors.
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Cruz, Victor Manuel. "Metaphysics in the dark : music, mimesis and the making of utopia." Thesis, King's College London (University of London), 2017. https://kclpure.kcl.ac.uk/portal/en/theses/metaphysics-in-the-dark(daa15f5b-520f-41f6-883a-e723e28c17c7).html.
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This thesis looks at 20th century African-American music and literature through the prism of historical materialism and the aesthetics of mimesis. This approach pays equal attention to class and ‘race’ when reading literary works and interpreting and contextualizing black1 music cultures. The material conditions in which works of literature and music are produced are as important as the themes with which they deal. Periodization is also important, and throughout I note how structural changes in the general mode of production of US capitalism, and the particular dynamics of the culture industry, shape black literary and musical production. Both historical materialists and scholars of African-American culture have theorized mimesis, but without much rigour and rarely at the same time. This two-pronged approach results in three interrelated arguments about African- American music in the 20th century. Chapters 2 and 3 trace the incorporation and commodification of the jazz avant-garde, a process I argue was responsible for kicking off African-American modernism in the early forties, a social formation that served as the model for the varieties of ‘popular modernism’ in the post war period. In the process, I contrast the utopian promise of popular modernism with that of its Euro-American counterparts. In Chapters 4 and 5 I read Richard Wright, Ralph Ellison and Leroi Jones and others’ work in terms of the growing tension between a bourgeois literary tradition and the rising commercial and cultural popularity of black music. In Chapter 6, I argue that popular modernism reaches its apex in the period ’67-’79, with the permutation of rhythm and blues into rock, funk, and disco. Finally, in Chapter 7 I argue that by ’79, popular modernism had, for a variety of structural reasons, run its course. Authors and genres discussed include Fredrick Douglass, W.E.B. Du Bois, James Weldon Johnson, James Reese Europe, Alain Locke, Duke Ellington, Richard Wright, Ralph Ellison, Theodor Adorno, Walter Benjamin, Leroi Jones/Amiri Baraka, Henry Dumas, early blues and jazz, soul, funk, and disco. Chapter 1 surveys the scholarship and argues that African-American studies generally suffer from a lack of historical materialist analysis. From ‘signifyin’’ to more recent theorizations of ‘blackness’ and the ‘black radical tradition’, the results bear little relation to the history of economic conflict and aesthetic difference within black culture, in addition to those stemming from the dominant culture. I then outline the basics of an historical materialist approach to black culture and music in particular. However, I also note its limitations when it comes to the specific phenomena of black culture, and to aesthetics more generally. I therefore suggest mimesis as a useful complementary category. Here I draw from recent forays into the political economy of slave music emergent in the 19th century and the dominance of ‘groove’ in the 20th century. Chapter 2 explores pre-culture industry currents. I begin with Fredrick Douglass’s comments on slave songs, which provide an overarching set of themes to which we return throughout the thesis, namely, music’s relation to work and to protest. This sets us up to understand how black music has been forged in social relations of domination and exploitation. I read the early work of W.E.B. Du Bois as well as James Weldon Johnson’s Autobiography of an Ex-coloured Man, and pay close attention to the ways ‘race’, culture and music are experienced in these works as class problems. Chapter 3 explores the relationship between ‘black’ and ‘white’ avant-gardes, just prior to the advent of the culture industry. Neither term refers to a monolithic social formation. The ‘white’ avant-garde was divided between those for whom recent European history had to be discarded like dead weight, in order to return to a golden age and secure a glorious future, and those for whom history was the key to understanding the present and building a better future. Likewise, black culture was divided between the ‘affirmative character’ of bourgeois cultural historiography, and an emergent, critical and unruly populism, concentrated in Harlem but present in most major cities, whose energies were harnessed by radio and the nascent recording industry. Chapter 4 sets the early work of Richard Wright in a constellation with Walter Benjamin and Theodor Adorno. Wright’s ‘aestheticization of violence’ in his first unpublished novel emerges in the context of an increasingly commodified black culture, which Adorno was tracking in his work with the Princeton Radio Research Project. Meanwhile, Benjamin begins to toy with the concept mimesis, aura and their relation to social revolution, which compels Adorno toward his first thorough critiques of the nascent culture industry and the dominant form of mass-produced music at the time, jazz. Finally, I show how these critiques dovetail with those of contemporary black critics and artists. Chapter 5 begins with the debate between Ralph Ellison and Leroi Jones/Amiri Baraka, over the connection between music, memory and political consciousness. I then trace the emergence of ‘Amiri Baraka’ from Jones’s early experimental novel and poetry to his classic essay, ‘The Changing Same: R&B and the New Black Music’. This essay refers to a short story by Henry Dumas, which itself plays with themes of jazz musician Sun-Ra, both of which I explore, before returning finally to Baraka. In the end, I argue that Baraka reproduces many of the problems that had beset the ‘white’ avant-gardes of previous decades, and that these are compounded by a racial essentialism that is incompatible with the music and musicians he adores. Baraka and the Black Arts Movement’s theory of ‘blackness’ brings us back to the theoretical concerns of Chapter 1. Chapter 6 theorizes the music of ’67-’79 as popular modernism. First I turn to Adorno’s Aesthetic Theory, particularly his elaboration of Benjamin’s notes on mimesis and its relation to music. I then look at The Chambers Brothers, Jimi Hendrix, Parliament-Funkadelic and Chic to argue that soul, funk and disco were the result of the massive structural changes in African-American life that began with the civil rights movement. What made this period ‘the most liberated and open time in music’, as Chic’s Nile Rogers remembers it? I argue that popular modernism— populist, postnationalist, technically and technologically advanced, richly historical, playfully ironic, and emphatically utopian— subverted the reification of blackness that had forced jazz to retreat into either noise or nostalgia. One paradoxical effect was the ‘queering’ of black music, at the same time that black nationalism and the search for a ‘black aesthetic’ dominated the discourse. At the same time, the death of disco signaled that popular modernism had run its course. Finally, I think through Mark Abel’s notion of mimesis in relation to James Snead’s theorization of ‘repetition as a figure of black culture’. Chapter 7 briefly suggests why the moment of popular modernism came to an end, or was finally driven underground, where it flourished as house and techno, but never again enjoyed the kind of mainstream success that it had in the seventies. I conclude with some more personal reflections on popular music since the 1980s.