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Artykuły w czasopismach na temat „Mimesis”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

Mitosek, Zofia. "Mimesis - między udawaniem a referencją." Przestrzenie Teorii, no. 1 (February 15, 2007): 25–46. http://dx.doi.org/10.14746/pt.2002.1.2.

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This study reformulates the old problem of mimesis in the spirit of pragmatics. It treats similarity as as a subjective-objective relation. Comparison of the conception of formal mimetism and literature as pretending of actual acts of speech leads to a conclusion on the asymmetry of these two modern applications of the category of mimesis. The first one attempts at restricting its use, the second attempts at globalisation, a kind of which is pragmatisation. Conception of mimesis as pretending strengthens the objective characterisation of categories. The function of convention is emphasised, wh

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2

Rybačiauskaitė, Karolina. "Towards a Diffractive Mimesis: Karen Barad’s and Isabelle Stengers’ Re-Turnings." Journal of Posthumanism 2, no. 2 (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-poli

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3

Çelik, e. Murat. "Paul Ricoeur'ün Üçlü Mimesis Anlayışı ve Edebiyatın Etkileme Gücü." Posseible 13, no. 1 (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 örg&

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4

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 liberati

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5

Lawtoo, Nidesh. "Posthumanism and Mimesis: An Introduction." Journal of Posthumanism 2, no. 2 (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 hype

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6

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

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7

Seif, Farouk Y. "Mutual mimesis of nature and culture: A representational perspective for eco-cultural metamorphosis." Sign Systems Studies 38, no. 1/4 (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 observat

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8

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

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9

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

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10

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

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11

Almeida, Marcos Vinícius. "A literatura como desvio." Jangada: crítica | literatura | artes, no. 8 (May 1, 2018): 190–97. http://dx.doi.org/10.35921/jangada.v0i8.127.

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Resumo: O presente ensaio levanta o problema clássico da mimese a partir da leitura do primeiro capítulo de São Bernardo, de Graciliano Ramos. O entendimento é que esse conceito, desde Platão e Aristóteles, apesar de uma visão distinta, não se refere a uma cópia idêntica de uma determinada essência ou objeto. Há, desde sempre, um desvio no processo mimético. E é justamente esse desvio a característica fundamental do texto literário. Palavras-chave: mimese, Platão, Aristóteles, Literatura. ______________________Abstract: This paper raises the classic problem of mimesis from reading

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12

Telo, Hélder. "Plato’s Philosophical Mimesis: On the Pedagogical and Protreptic Value of Imperfection." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 16, no. 2 (2022): 520–49. http://dx.doi.org/10.25205/1995-4328-2022-16-2-520-549.

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This article addresses two often perplexing traits in Plato’s philosophical style: first, the fact that Plato’s writings are mimetic, despite the strong criticisms of mimesis we find therein; second, the fact that this mimesis not only features the constitutive defects inherent to any mimesis, but Plato actually increases its imperfection by adding other manifest defects. Based on epistemological and psychological views taken from the Platonic corpus (especially the soul’s tripartition), I show how Plato’s philosophical mimesis uses defectiveness or imperfection to overcome the limitations of

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13

Bennema, Cornelis. "Mimesis in John 13." Novum Testamentum 56, no. 3 (2014): 261–74. http://dx.doi.org/10.1163/15685365-12341465.

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Johannine scholarship is divided on whether the mimetic imperative in John 13:15 calls for a literal replication of the footwashing or is a general reference to humble (loving) service. My argument is that for the author mimesis involves primarily the creative, truthful, bodily articulation of the idea and attitude that lie behind the original act rather than its exact replication. The Johannine concept of mimesis is a hermeneutical process that involves both the understanding of the original act and a resulting mimetic act that creatively but faithfully articulates this understanding.

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14

Durrant, Sam. "Homo Ecologicus : Animism, Historical Materialism and Planetary Mimesis." MLN 138, no. 5 (2023): 1520–44. http://dx.doi.org/10.1353/mln.2023.a922037.

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Abstract: The contemporary return toward mimesis turns in at least two directions. The first doubles down on Plato's suspicion of mimesis as a contagious threat to rationality and the healthy functioning of the polis and in this sense advocates, at the level of human behaviour, a turning away from mimesis and the pathological, all-too-human nature of homo mimeticus . The second form of the mimetic turn is a more wholehearted turning towards mimesis, seen not as contagious pathology but as cure, as planetary solution to our all-too-human modes of being in the world. This essay is interested in

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15

Deriu, Fabrizio. "Mimesis and/Is/as Restoration of Behaviour." CounterText 8, no. 1 (2022): 103–22. http://dx.doi.org/10.3366/count.2022.0259.

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In light of the paradigm shift which in Theatre Studies led to the emergence of a new (post)discipline that takes the notion of performance as its cornerstone, this essay discusses the productive convergence between mimesis and ‘restored behaviour’, namely the key process of every kind of performance in art, ritual, and ordinary life. This convergence can improve the understanding of the mimetic condition in the twenty-first century, provided we rely on a postmodern and, at the same time, pre-Platonic conception of mimesis. Even though ‘restored behaviour’ is not the same as mimesis, evidence

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16

Erslev, Malthe Stavning. "A Mimetic Method." A Peer-Reviewed Journal About 11, no. 1 (2022): 34–49. http://dx.doi.org/10.7146/aprja.v11i1.134305.

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   How does a practice of mimesis — as dramatic enactment in a live-action role-playing game (LARP) — relate to the design of artificial intelligence systems? In this article, I trace the contours of a mimetic method, working through an auto-ethnographic approach in tandem with new materialist theory and in conjunction with recent tendencies in design research to argue that mimesis carries strong potential as a practice through which to encounter, negotiate, and design with artificial intelligence imaginaries. Building on a new materialist conception of mimesis as more-than-h

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17

HUTSON, LORNA. "Forensic Aspects of Renaissance Mimesis." Representations 94, no. 1 (2006): 80–109. http://dx.doi.org/10.1525/rep.2006.94.1.80.

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ABSTRACT Current approaches to Renaissance drama, rejecting the older idea of mimesis as likeness to an essential ““nature,”” have also rejected the assumption that Shakespeare's drama is especially mimetic. This article argues that these approaches neglect the contribution of narrative coherence or plot tomimesis and shows that a judicial conception of narrative underlies the mimesis of neoclassical Renaissance drama, including Shakespeare. Mimetic readings of Shakespeare may thus be appropriately legalistic responses to an evidentially based conception of plot.

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18

Juodeika, Rytis. "Valery Podoroga’s Theory of Mimesis: the Sensory Aspects of Text Perception." Problemos 101 (April 26, 2022): 118–31. http://dx.doi.org/10.15388/problemos.101.10.

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The paper aims to analyse and understand tensions and meanings in the notion of mimesis in the perspective of philosophical anthropology. Classical mimesis theories, which stretch from classical antiquity to modern works by E. Auerbach or P. Ricoeur, are often associated with poetics, narratology or other literature theory studies. V. Podoroga talks about anthropological and phenomenological mimesis, not only about ‘external’, Aristotelian version, but also about internal mimesis. He focuses on the experience of the body as the basis of mimesis. The author explains how mimesis in Podoroga’s ve

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19

Borch, Christian. "Financial Contagion in an Age of COVID-19: On Biological, Human, and Algorithmic Mimesis." CounterText 8, no. 1 (2022): 206–26. http://dx.doi.org/10.3366/count.2022.0263.

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This article discusses the financial turmoil unleashed by the COVID-19 pandemic in March 2020. It argues that the market mayhem in which prices plummeted cannot be fully explained by real-economic factors such as uncertainty about the future global economy. Instead, I suggest analysing the events as a manifestation of financial contagion in which the mimesis of market participants becomes an independent explanatory force. In making this argument, the article returns to late nineteenth-century ideas about mimesis and social contagion as well as discussions about the collective mimesis – constit

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20

González, José M. "The Aristotelian Psychology of Tragic Mimesis." Phronesis 64, no. 2 (2019): 172–245. http://dx.doi.org/10.1163/15685284-12341958.

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AbstractThis paper argues that the psychology of mimesis presupposed by Poetics 4 is immediately relevant to Aristotle’s psychology of tragic mimesis. µανθάνειν καὶ συλλογίζεσθαι at 1448b16 involve a cognitive mode characteristic of Aristotelian induction that joins particulars with universals through spontaneous, non-discursive noetic predication. Aristotle’s view of the cognition of tragic mimesis can be subsumed under the practice of theōria: the inductive re‑cognition of ethical universals is a ‘theoric’ exercise of philosophical reflection on the particulars of the tragic action, an assoc

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21

Lawtoo, Nidesh. "Wilde's Mime Acts: Performing Minor Mimesis." MLN 138, no. 5 (2023): 1438–59. http://dx.doi.org/10.1353/mln.2023.a922033.

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Abstract: Mimesis is not a minor literary and philosophical concept in western thought. Still, an immanent, marginalized, and in this sense minor conception of performative mimesis (from mimos , actor or performance) is currently informing the transdisciplinary field of mimetic studies. Supplementing Deleuze and Guattari's account of Kafka's "minor literature," this article focuses on Oscar Wilde's dramatizations of performative mimesis revealing that not only language is performative; human lives and bodies are also driven by "an imitative instinct." From The Picture of Dorian Gray to The Imp

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22

Hangaard Rasmussen, Torben. "LEGENS POETIK - Platon og Aristoteles om leg." Psyke & Logos 23, no. 2 (2002): 21. http://dx.doi.org/10.7146/pl.v23i2.8594.

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Med udgangspunkt i Platons STATEN og Aristoteles’ POETIK argumenterer artiklen for, at leg er en POETISK virksomhed, der forener to kilder: MIMESIS og MYTHOS. Mimesis (dramatisk fremstilling) og mythos (fortælling) er komplementære forudsætninger for både rhapsodens praksis og børns leg. I barndommen løber disse to kilder snart parallelt med hinanden, snart sammen og bliver til EPISK LEG eller DRAMATISK LEG. I episk leg, som er genstand for Platons kritik i STATEN, veksler barnet mellem at være sig selv og en anden. Det ene øjeblik gengiver barnet mimetisk et menneske, et dyr eller en mytologi

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23

Zlatev, Jordan, Tomas Persson, and Peter Gärdenfors. "Triadic bodily mimesis is the difference." Behavioral and Brain Sciences 28, no. 5 (2005): 720–21. http://dx.doi.org/10.1017/s0140525x05530127.

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We find that the nature and origin of the proposed “dialogical cognitive representations” in the target article is not sufficiently clear. Our proposal is that (triadic) bodily mimesis and in particular mimetic schemas – prelinguistic representational, intersubjective structures, emerging through imitation but subsequently interiorized – can provide the necessary link between private sensory-motor experience and public language. In particular, we argue that shared intentionality requires triadic mimesis.

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24

Yetim, Evşen, and Derya Elmalı Şen. "Kopya ve mimesis ikiliğinde çağdaş mimaride taklit üzerine bir okuma." JOURNAL OF ARTS 6, no. 4 (2023): 231–42. http://dx.doi.org/10.31566/arts.2114.

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Çalışmada, poiesis ve mimesis kavramlarının etimolojik ve felsefeye dayalı açılımlarından yola çıkılarak çağdaş mimarideki taklit eylemi üzerinden bir okuma gerçekleştirilmektedir. Bu okumada her ikisi de taklit anlamına gelen kopya ve mimesis arasındaki ayrım ve seçim konusunda bir farkındalığın oluşturulması amaçlanmaktadır. Mimesisin bir taklit olmasına rağmen bir kopya olmadığı vurgulanmaktadır. Sanayi Devrimi ile başlayan endüstri çağı yarattığı seri üretim ile kopya ürünler ortaya çıkmaya başlamıştır. Bu üretim şekli pek çok alanda etkili olduğu gibi mimarlık alanında da etkili olmuştur.

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25

Kalpokas, Ignas. "Social Media: Mimesis and Warfare." Lithuanian Foreign Policy Review 35, no. 1 (2016): 119–36. http://dx.doi.org/10.1515/lfpr-2016-0026.

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Abstract Weaponisation of social media and online information is a real and emerging threat. Hence, this article aims to broaden our understanding of this phenomenon by introducing the concept of mimetic warfare. Borrowing from mimesis, or a particular representation of reality, this article delves into information conflicts as the ones involving a struggle between well-prepared comprehensive narratives that are intended to affect a target population’s cognition and behaviour. Mimesis as a concept is seen as particularly useful in explaining the multiplicity, proliferation and appeal of such r

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26

이풍인. "A Study of René Girard’s Idea of Mimetic Rivalryfrom Bad Mimesis to Good Mimesis." faith & scholarship 23, no. 3 (2018): 217–41. http://dx.doi.org/10.30806/fs.23.3.201809.217.

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Vélez, Daniel Villegas. "Apparatus of Capture: Music and the Mimetic Construction of Social Reality in the Early Modern/Colonial Period." CounterText 8, no. 1 (2022): 123–48. http://dx.doi.org/10.3366/count.2022.0260.

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This paper supplements Gebauer and Wulf’s analyses of mimesis as a mechanism for the construction of social reality. After situating archaic musical mimesis in the context of Homeric performance and its critique in Plato, I demonstrate how musical mimesis functions as an assemblage of inscription of social mores and values through two case studies. The first examines how this mimetic mechanism is actualised in the 1589 Medici intermedi as an allegorical apparatus of capture that enables the sovereign to control the space and time of the performance. The second examines how this apparatus is re

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28

Voss, Christiane. "Mimetische Inkorporierung am Beispiel taxidermischer Weltprojektionen." Zeitschrift für Medien- und Kulturforschung 8, no. 1 (2017): 193–208. http://dx.doi.org/10.28937/1000107630.

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"Die Ablehnung der Mimesis, verstanden als ein Anspruch von Darstellungen auf Naturnachahmung, ist ein charakteristischer Grundzug moderner Ästhetik und Erkenntnistheorie seit dem Ende des 19. Jahrhunderts. Parallel dazu existieren zeitgleich im Raum wissensbildender Institutionen wie den Naturkundemuseen Dispositive, etwa die Habitat-Dioramen, die das traditionell mimetische Ideal auf kreative Weise aufrechterhalten. Diese vermeintlich anachronistischen Dispositive werden hinsichtlich ihrer mimesisproduktiven Dimensionen medienphilosophisch reflektiert und zu Adornos Mimesisverständnis ins Ve

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Ladwig, Patrice, and Ricardo Roque. "Introduction." Social Analysis 62, no. 2 (2018): 1–27. http://dx.doi.org/10.3167/sa.2018.620201.

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Engaging critically with literature on mimesis, colonialism, and the state in anthropology and history, this introduction argues for an approach to mimesis and imitation as constitutive of the state and its forms of rule and governmentality in the context of late European colonialism. It explores how the colonial state attempted to administer, control, and integrate its indigenous subjects through mimetic policies of governance, while examining how indigenous polities adopted imitative practices in order to establish reciprocal ties with, or to resist the presence of, the colonial state. In in

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

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This introductory essay articulates some of the theoretical and conceptual foundations internal to the post-literary mimetic turn. Drawing on an ERC-funded transdisciplinary project titled Homo Mimeticus, out of which this special issue on The Mimetic Condition emerged, the introduction furthers Gunther Gebauer and Christoph Wulf’s account of mimesis as a ‘human condition’ in order to propose a new theory of homo mimeticus for the post-literary age. This entails a paradigm shift from dominant translations of mimesis as realistic representation toward an embodied, immanent, and relational conce

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Ossman, Susan. "Mimesis." Hermès 22, no. 1 (1998): 9. http://dx.doi.org/10.4267/2042/14942.

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

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Leach, Neil. "Mimesis." Architectural Theory Review 10, no. 1 (2005): 93–104. http://dx.doi.org/10.1080/13264820509478531.

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Billett, Stephen. "Mimesis." Human Resource Development Review 13, no. 4 (2014): 462–82. http://dx.doi.org/10.1177/1534484314548275.

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

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Lawtoo, Nidesh. "Posthuman Mimesis I: Concepts for the Mimetic Turn." Journal of Posthumanism 2, no. 2 (2022): 101–14. http://dx.doi.org/10.33182/joph.v2i2.2063.

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A mimetic turn is emerging in posthuman studies. Taking as a starting point a recent re-turn to an immanent, embodied, and relational conception of mimesis constitutive of the ERC-funded project, Homo Mimeticus, this paper proposes three related conceptual foundations to further a “mimetic turn” already at play in sf simulations and now operative in embodied imitations as well. Building on pioneering work on the centrality of an “embodied” and “cognitive nonconscious” (Hayles 1999, 2017) on the one hand, and a “relational” conception of “posthuman subjectivity” (Braidotti 2019) on the other, I

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Siemens, Herman. "Mimesis, Metaphysics and Aesthetic Science in Baumgarten and Nietzsche's The Birth of Tragedy." MLN 138, no. 5 (2023): 1405–21. http://dx.doi.org/10.1353/mln.2023.a922031.

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Abstract: This paper investigates the notion of mimesis in Baumgarten's Meditationes (1735), the inaugural text of modern aesthetics, and Die Geburt der Tragödie , as two exemplary texts of aesthetische Wissenschaft . What meanings and functions do they give to 'mimesis' and the Aristotelian doctrine that art is an imitation ( Nachahmung, Abbild ) of nature? The main thesis is that both texts cast art as a Nachahmung of the creative principle of nature (natura naturans), rather than the order of things (natura naturata); a move that displaces traditional (static, dualistic, passive, representa

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Phillips, Jacob B., and K. David Harrison. "Munda mimetic reduplication." Canadian Journal of Linguistics/Revue canadienne de linguistique 62, no. 2 (2017): 221–42. http://dx.doi.org/10.1017/cnj.2017.13.

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AbstractThe Munda languages of South Asia exhibit sound symbolism in their use of mimetic reduplication, to which they devote a surprisingly large percentage of their lexicons, typically upwards of ten percent. We present an extensive empirical typology of mimetic reduplication in seven Munda languages: Ho, Kera Mundari, Kharia, Mundari, Remo (Bondo), Santali, and Sora (Savara). Munda Mimetic forms can depict sensory qualities of sound, space, movement, texture, smell, taste, temperature, feelings, and sensations. The typology of mimetic reduplication in Munda varies across syntactic class, se

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Dr Snigdha Jha. "Aristotle’s Mimesis or Creative Imitation." Creative Launcher 5, no. 1 (2020): 32–36. http://dx.doi.org/10.53032/tcl.2020.5.1.05.

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The present paper explores in totality the Mimetic or Creative imitative power in creative writers and visual painters. Giving a befitting reply to his master, Plato condemned poets and painters on the grounds that they lack originality. They are mere imitators and their creation is thrice removed from truth and reality. Aristotle in his magnum opus, Poetics, starts with this mimesis thing and goes at length telling that Mimesis or Imitation is central to existence. We human beings are better developed than brute beasts primarily because we have the highest imitating power. Plato and Aristotle

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Lawtoo, Nidesh. "Black Mirrors." Philosophy Today 65, no. 3 (2021): 523–47. http://dx.doi.org/10.5840/philtoday2021517406.

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Reflections on mimesis have tended to be restricted to aesthetic fictions in the past century; yet the proliferation of new digital technologies in the present century is currently generating virtual simulations that increasingly blur the line between aesthetic representations and embodied realities. Building on a recent mimetic turn, or re-turn of mimesis in critical theory, this paper focuses on the British science fiction television series, Black Mirror (2011–2018) to reflect critically on the hypermimetic impact of new digital technologies on the formation and transformation of subjectivit

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Malyshev, Vladislav B. "Dance of the language: Primordial cultural modalities in the light of metaphor theory." Aspirantskiy Vestnik Povolzhiya 20, no. 7-8 (2020): 44–48. http://dx.doi.org/10.17816/2072-2354.2020.20.4.44-48.

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The article analyzes the relationship between the conceptual field of metaphor and the primordial cultural modalities in the context of the problem of transcendent instances. Metaphor, mimesis, and poetry as three types of modeling the reality of culture can be correlated in the plane of language representation of the world. The dance of language is the top species of mimetic evolution, whereas metaphor is the key to understanding the mechanism of mimesis in art and culture (I.-G. Herder, F. Nietzsche). The discourse of the primordial cultural modalities in language is clothed in certain image

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Малышев, Владислав Борисович. "THE QUESTION OF MIMESIS IN THE LIGHT OF METAPHOR THEORY: TO THE PROBLEM STATEMENT." Вестник Тверского государственного университета. Серия: Философия, no. 3(53) (October 30, 2020): 122–29. http://dx.doi.org/10.26456/vtphilos/2020.3.122.

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В статье производится анализ соотношения понятийного поля метафоры и мимезиса в контексте проблемы языка в его истоке. Метафора и мимезис как два вида моделирования реальности культуры могут быть соотнесены в плоскости языковой репрезентации мира. Танец языка - вершина эволюции миметического, а метафора - ключ к пониманию механизма мимезиса в искусстве и культуре. Метафора - это некий более тонкий механизм репрезентации мира посредством языка, высшая точка эволюции миметического (И.-Г. Гердер, Ф. Ницше). Через мимезис в искусстве происходит воссоздание мира. Метафора также соотносит одну вещь

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Impedovo, Maria Antonietta. "Technical Object, Baby Mimesis, and Affective Scaffolding." Journal of Posthumanism 2, no. 2 (2022): 151–65. http://dx.doi.org/10.33182/joph.v2i2.1935.

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Posthumanism perspectives see the relationship between humans and technology in inter-connected ways exploring cognition, perception, and awareness co-developmental implications with technology. This article focuses on the interplay between technical objects and the baby niche of development. Two main concepts will guide the discussion: posthuman mimesis and the affective dimension as a possible regulative mediator for object-subject relationships. The broad research question is: How do babies deal with increasingly complex technology daily? Which regulative role does mimesis and affective sca

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Jungers, Jean-Jacques. "Mimesis & Cie – The (un)walled man." Acta Europeana Systemica 5 (July 13, 2020): 19–26. http://dx.doi.org/10.14428/aes.v5i1.56933.

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From the Borromean knotting of concepts world, scene and obscene which represent the material, symbolic and mythological dimensions of our environment, the article explains the process of civilization at work in our societies. In our view, this process characterized itself by the obscene placing – to put behind the scene, in French mise obscène – of an important part of our environment. It is specific to the social animal that is the human being. When he stands on the scene, he always hides a part of his condition. The one he is ashamed because it places him in front of the ontological void th

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Gebauer, Gunter. "The Undifferentiation of Mimetic Violence: From Oedipus to COVID-19." CounterText 8, no. 1 (2022): 88–102. http://dx.doi.org/10.3366/count.2022.0258.

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In the Poetics Aristotle limited the concept of mimesis to the aesthetic relationship between drama and the actions of its mythical models. In the 1970s, having found representations of mimetic relationships in the myths themselves, René Girard argued that they are the cause of a violence that disrupts the mythical communities from within. Later, Girard extended the concept of mimesis to natural processes: By destroying the differences between model and imitation mimetic processes in nature and in the social world unleash violence. In this essay two important examples of dedifferentiation are

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Cruz, Ariane. "Copying Cosby." differences 31, no. 1 (2020): 98–134. http://dx.doi.org/10.1215/10407391-8218788.

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This essay employs pornography to explore the politics of race, gender, and sexuality at play in mimetic performances of Bill Cosby’s The Cosby Show. Focusing on Not the Cosbys XXX (2009), a pornographic parody of the sitcom, pornography is shown to be a venue that lays bare the politics of race, sexuality, and gender that energize cultural practices of mimesis. In mimicking The Cosby Show, Not the Cosbys XXX reveals the racial, sexual, and class politics of authenticity critical to mimesis as a salient technology for the (re)production of blackness in visual culture. Pornography’s spectacular

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O’Neill, Maggie. "Journeying with Adorno: Passion, pathways and ethno-mimesis." Irish Journal of Sociology 32, no. 3 (2024): 252–71. https://doi.org/10.1177/07916035241295891.

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This article discusses the central importance of Adorno in the development of my feminist research practice as ‘ethno-mimesis’, the combination of ethnographic, biographical and arts-based research, operationalised by working with artists at the borders of art and ethnography, as critical theory in practice. The concept of ethno-mimesis emerged from my engagement with Adorno's work across five main pathways (non-identity thinking, aesthetics and politics, micrology, the importance of the critical recovery of history, in ‘living a damaged life’) and is informed by my reading of Negative Dialect

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Maeng, Min-Chung, and Kyung-Sook Lee. "Sports from a Mimesis Perspective: Focusing on Adorno Mimesis." Korean Journal of Physical Education 61, no. 1 (2022): 151–65. http://dx.doi.org/10.23949/kjpe.2022.1.61.1.11.

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de Mendelssohn, Felix. "Risposta al lavoro di Lord Alderdice." GRUPPI, no. 3 (June 2009): 55–63. http://dx.doi.org/10.3280/gru2008-003004.

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- In this response to the paper of Lord Alderdice some of its themes are more specifically focussed and elaborated, e.g. a) the important functions and qualities of good leadership in conflict resolution, b) René Girard's theory of Mimesis in relation to Kleinian conceptualizations of primitive Envy, c) Girard's vision of religion's centrality to the organisation of society, and Giambattista Vico on Theocracy, while a discussion of d) personal experiences of the author in N. Ireland in the 1970s leads on to e) some final reflections on spying, sexu153 ality and such aspects of Enlightenment va

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Son, Jin-A., and Jeong-Hyun Lee. "Analysis of Mimesis Expressed in the Beauty Works from North American Hairdressing Awards." Korean Society of Beauty and Art 24, no. 1 (2023): 7–26. http://dx.doi.org/10.18693/jksba.2023.24.1.7.

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Hairstyles are the results of creative activities in beauty art. For such hairstyling, there always exists a source of inspiration. In fact, creative works are being completed through the representation or partial imitation of the original. In other words, such process is related with a concept of ‘mimesis’, one of aesthetic factors. Therefore, this study attempted to theoretically review mimesis and examine its characteristics expressed in the works from the North American Hairdressing Awards (NAHA). For this, mimesis is conceptualized by the names of imitation, representation, expression and

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