Plato: Imitation

This essay demonstrates the prominence of imitation in Kierkegaard’s ethics. I move beyond his idea of authentic existence modeled on Christ and explore the secular dimension of Kierkegaard’s insights about human nature and imitation. I start with presenting imitation as key to understanding the ethical dimension of the relationship between the universal and individual aspects of the human self in Kierkegaard. I then show that Kierkegaard’s moral concepts of “primitivity” and “comparison” are a response to his sociological and psychological observations (...) about imitation from an ethical point of view. In the final section of this paper, I briefly engage Friedrich Schleiermacher’s “ethics of individuality” and Gabriel Tarde’s “laws of imitation” to explore Kierkegaard’s consideration of ethics and imitation as situated within the context of a broader conversation on imitation. (shrink)

The usual interpretation of Republic 10 takes it as Socrates’ multilevel philosophical demonstration of the untruth and dangerousness of mimesis and its required excision from a well ordered polity. Such readings miss the play of the Platonic mimesis which has within it precisely ordered antistrophes which turn its oft remarked strophes perfectly around. First, this argument, famously concluding to the unreliability of image-makers for producing knowledge begins with two images—the mirror (596e) and the painter. I will show both undercut the (...) argument they introduce. Secondly, Socrates repeats the “three removes” argument three times. Each has its own object and philosophical axis. The “bed” argument (596a-598d) concerns the ontological status of images vis-à-vis human makers and the divine idea. The bit and bridle,” 601b-601d) emphasizes the epistemological status of image-making as beneath the human maker of bridles (having correct opinion) and the human user, who knows. This second takes away the ontological distinction which was the point of the first. Thus, any human being could be in any of the three positions—user, maker, imitator. This dance might bring one to doubt the conclusion that the imitator has “neither knowledge nor right opinion” (602a). Plato leads into his concluding psychological and moral argument (602c-605c) after a third variation of the 3 removes. This last gives us the image of the flute player (601d-602) as the one who knows and so can order the flute maker. We will conclude by considering what it is this flutist could know, and given that his art is itself a mimesis, who the imitator of this imitative artist could be. Thus attention to the differences among these examples opens a defense of the arts, which reverses many of the claims made against the arts within the ostensible “Platonic” argument. (shrink)

Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair is once (...) removed from reality and since a painter’s chair is imitation of a carpenter’s chair, it is twice removed from reality. Thus, the artist deals in illusion. Plato thus rejected imitative art on the foundation that it is a copy or imitation of the unreal. We may ask; if the Carpenter makes a chair, what does he imitate? And if he imitates reality, can we call him an artist of a kind? This article therefore argues following Plato’s analogy that carpentry is an art of a kind and a carpenter is capable of knowing reality as against the notion that only philosophers are suitable for such a task. (shrink)

It is widely believed that Plato promoted a version of the "one over many" argument such that there would be Forms of all things. Among these Forms are also included those of artefacts. Aristotle denies, however, that Plato would accept such Forms. The ancient Platonic tradition is unusually unanimous in denying the existence of Forms of artefacts. This paper supports three main points: (a) through a careful examination of some Platonic texts (in particular Resp. 596a) it is possible to assert (...) that he has never encouraged a version of the "one over many" that justifies the existence of Forms of all things; (b) the reduction ad unum defended by Plato can not be considered identical to Aristotle's version of "one over many" argument; (c) there are some good textual and speculative reasons to deny the existence of Forms of artefacta. It is finally discussed a recent proposal by David Sedley, according to which Plato, in his mature works, accepted only Form of what has opposed properties and of artefacts (but not of natural things). (shrink)

The traditional reading of Plato’s criticism of the poets and painters in Book 10 of the Republic is that they merely imitate. In light of Plato’s own image-making, the critique of imitation requires a more careful examination, especially in regards to painting. This paper argues that it is insufficient to view Plato’s critique of image-making by the painter solely in terms of the image replication that does not consider the eidos. In view of the context of Plato’s argument within Book (...) 10 and elsewhere, other considerations, such as the ideas of measure and proportion, which pertain to the notion of the beautiful, are required for a complete understanding of the argument against the painter. In light of these further considerations I argue for a threefold distinction between mimesis as replication, mimesis as false resemblance, and mimesis as true resemblance. With respect to the third kind of mimesis, which directly pertains to Plato’s own image-making, one can see in Plato a different configuration of the relation between image and original portrayed in the image. (shrink)

The mirror analogy in Republic X (596c-e) helps Socrates formulate the conception of mimesis used to make the argument that the painter is an imitator and his works are inferior, being thrice-removed from reality (596a-598d). The painter is classified as an impostor by an unfair assimilation with the sophistic mirror-holder. The mirror analogy and its imaging-devices give Socrates a dialectical advantage that he would not otherwise have. If Socrates succeeds with Glaucon in showing that painters are imitators, his success is (...) due primarily to the mirror analogy and its metaphorical imagery. (shrink)

The article addresses the issue of rating Platonic poetic creation. It focuses on two aspects of this issue, namely the question transformed the concept of truth and character agonální Platonic criticism. In the first respect, the paper focuses on the relationship between truth and lies and the Platonic concept of "similar lies the truth." In the latter respect, trying to uncover the motivation and the wide range of Plato's rivalry with the older poetic tradition in the context of a widely (...) sophisticated concept of Platonic mimesis. Here, analyzing in particular its ontological-epistemological and ethical-psychological context. (shrink)

A passage in Plato’s Laws offers a fresh look at Plato’s theory of poetry and art. Only here does Plato call poetry both mimêsis “imitation, representation,” and the product of enthousiasmos “inspiration, possession.” The Republic and Sophist examine poetic imitation; the Ion and Phaedrus develop a theory of artistic inspiration; but Plato does not confront the two descriptions together outside this paragraph. After all, mimêsis fuels an attack on poetry, while enthousiasmos is sometimes used to attack it, sometimes to praise (...) it. The explanation evidently lies in Plato’s understanding of drama, which in the Laws has grown more precise, from simply the presentation of characters to the presentation of multiple characters engaged in dramatic conflict. (shrink)

In Deceit, Desire, and the Novel, René Girard interprets a phenomenon he dubs “metaphysical desire” in which “metaphysical” signifies objects of attraction that are not physical things but rather intangible bi-products of mimetic entanglement—such as prestige or fame or social status. These “metaphysical objects” fuel the sometimes frenzied rivalry between the actors in their grip. Desire in the mimetic theory is always subject to mediation, and Girard distinguishes two modes of mediation: external and internal. In external mediation, the model stands (...) outside the field of play of the imitator; in such cases there can be imitation but not the mutually amplified rivalry that leads to violence and scapegoating. In internal mediation, however, the model/imitators become antagonists. In Girard’s exposition, this difference between mediators provides a first litmus test of violent potential. But Girard’s dichotomy is limited to types of mediation, and another dichotomy is possible, one that distinguishes between types of metaphysical objects: those that are essentially sharable and those inherently not so. This extension of Girard’s mimetic theory can potentially cast great light on Plato’s dialogues. My essay will argue both that Plato understood the double-bind of mimetic entanglement and that his “forms” (at least in the ethical/political realm) can best be understood as metaphysical objects of the sharable kind. My points of reference will be primarily Plato’s Phaedrus and Book IX of the Republic (with pointers to Aristotle’s analysis of philia in Book VIII of the Nicomachean Ethics). (shrink)

Plato’s dialogues are self-defined as works of mimetic art, and the ancients clearly consider mimesis as working naturally before reason and beneath it. Such aview connects with two contemporary ideas—Rene Girard’s idea of the mimetic basis of culture and neurophysiological research into mirror neurons. Individualityarises out of, and can collapse back into our mimetic origin. This para-rational notion of mimesis as that in which and by which all our knowledge is framed requires we not only concern ourselves with Socrates’s arguments (...) and distinctions, but also see how the dramatic interaction of the characters is working (or not) on/in the characters, and consider how watching the interaction, hearing the parables and myths, and thinking through the arguments and interactions is meant to effect us. That Plato creates mimeses means he aims at passional conversion not merely argumentative worth, since mimesis aims to (and does) work on the passions. (shrink)

The logos question, one of the most important among the subjects that traverse the Plato's Sophist, has in fact some different aspects: the criticism of father Parmenides' logos, that is unable to speak about the not-being, but also about the being; the relations between logos and its cognates, phantasia, doxa and dianoia; the logos’ complex structure, that is a compound with onoma and rema; the difference between naming and saying, two distinct but inseparable actions; the logical and ontological conditions that (...) make possible to say the truth, or to lie or simply to joke; the necessity of a most flexible logos that allows us to speak about the not-being, and about the being, but at the same time is a logos dangerously similar to the sophist’ one; finally, the identity between the power to produce “spoken images” and the very power to speak. The aim of the present article is giving a systematical view of the matter that grasps all these faces. (shrink)

This essay argues that Cervantes engages and responds to the Platonic critique of mimesis through a tradition that is rooted in Aristotle's _Nicomachean Ethics. Especially in _Don Quixote, the standard by which mimesis is judged in Platonic terms is replaced by notions of the fitting, the just, and the appropriate, which draw on Aristotelian notions of practical reasoning. These had been promulgated by Renaissance rhetoricians and in proverbial discourse. Cervantes finds these traditions particularly well-suited to discourse in the novel, which (...) attempts to render the unevenness of ordinary experience. In recognizing the irreducible heterogeneity of experience and the priority of translation over analysis, the novel accomplishes important political work. (shrink)

This paper has two main aims: first, to set forth an analysis of Timaeus 48E-52D and then to explore the significance of those pages for our understanding of Plato’s metaphysics. Students of the “Receptacle” in Plato’s Timaeus have given close attention to the many metaphors he offers in his explanation of its nature. Less attention has been given to the overall structure of the passage in which he presents it. In this paper, I attempt to show that Plato’s exposition there (...) exhibits a coherent and very careful design. But once that design is grasped, it can be seen that his extended account of the Receptacle must properly be understood to treat a rather different subject: the nature of an image, rather than the nature of the Receptacle, is the focal concern uniting the whole of 48E-52D. (shrink)

Admirers of Plato are usually lovers of literary art, for Plato wrote dramatic dialogues rather than didactic volumes and did so with rare literary skill. You would expect such a philosopher to place a high value on literary art, but Plato actually attacked it, along with other forms of what he called mimêsis, and argued that most of it should be banned from the ideal society that he described in the Republic. What objections did Plato have with mimêsis? Do those (...) objections apply to the sort of art we value today? Are they well founded? These are the questions that I shall be discussing in my talk today. (shrink)