Results for 'Mimesis'

961 found
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  1. Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. WALTON - 1990 - Harvard University Press.
    Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.
  2.  9
    Mimesis: Culture--Art--Society.Gunter Gebauer, Christopher Wulf & Don Reneau - 1997 - Philosophy East and West 47 (2):291-292.
    Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex (...)
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  3. Platonic Mimesis.Mitchell Miller - 1999 - In Thomas Falkner, Nancy Felson & David Konstan (eds.), Contextualizing Classics: Ideology, Performance, Dialogue. pp. 253-266.
    A two-fold study, on the one hand of the thought-provoking mimesis by which Plato gives his hearer an occasion for self-knowledge and self-transcendence and of the typical sequential structure, an appropriation of the trajectory of the poem of Parmenides, by which Plato orders the drama of inquiry, and on the other hand a commentary on the Crito that aims to show concretely how these elements — mimesis and Parmenidean structure — work together to give the dialogues their exceptional (...)
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  4.  21
    Mimesis in Educational Hermeneutics.Peter Kemp - 2006 - Educational Philosophy and Theory 38 (2):171–184.
    Philosophy of education is regarded as an art of hermeneutics that integrates a theory of mimesis in its understanding of the educational transmission. The idea of the master is reconsidered in this perspective in order to overcome the old opposition between classicism and romanticism. In that way the author attempts to respond to the question: What is the secret to pedagogically sound education?
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  5.  80
    Espelhos sem imagens: mimesis e reconhecimento em Lacan e Adorno.Vladimir Safatle - 2005 - Trans/Form/Ação 28 (2):21-45.
    Trata-se de analisar os usos da racionalidade mimética em Jacques Lacan e Theodor Adorno, isto a fim de mostrar como, nos dois casos, encontramos uma estratégia de reflexão sobre a mimesis que a eleva à condição de elemento fundamental para uma teoria do reconhecimento que não se esgote na temática da intersubjetividade. Neste sentido, este estudo insere-se em uma pesquisa mais ampla a respeito dos modos de aproximação entre psicanálise lacaniana e Escola de Frankfurt no que diz respeito ao (...)
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  6.  18
    Ambivalence of the Notion of “Mimesis”: Between the Opening Towards the Other and the Repetition of the Same.Antonio Valentini - 2018 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 11 (1):193-205.
    One of the main characteristics of the contemporary aesthetic debate is the recovery of the concept of mimesis, as a dimension that is originally involved in the foundation of human culture and the processes of cultural learning. This is evident in the aesthetic reflection developed by Gunter Gebauer and Christoph Wulf. For these two authors, mimesis is never a mere reproduction of the given reality, but always implies the production of the New, of the Other, of the different (...)
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  7.  9
    Socrates as the Mimesis of Piety in Republic.Gene Fendt - 2018 - International Philosophical Quarterly 58 (3):243-254.
    The absence of any discussion of the virtue of piety in Plato’s Republic has been much remarked, but there are textual clues by which to recognize its importance for Plato’s construction and for the book’s intended effect. This dialogue is Socrates’s repetition, on the day after the first festival of Bendis, of a liturgical action that he undertook—at his own expense, at the “vote” of his “city”—on the previous day. Socrates’s activity in repeating it the next day is an “ethological” (...)
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  8.  22
    Dramatic Mimesis and Civic Education in Aristotle, Cicero and Renaissance Humanism.Hörcher Ferenc - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):87-96.
    This paper wants to address the Aristotelian analysis of the concept of mimesis from a social and cultural angle. It is going to show that mimesis is crucial if we want to understand why the institution of the theatre played such a crucial role in the civic educational programme of classical Athens. The paper’s argument is that the magic spell of theatrical imitation, its aesthetic machinery was exploited by the city for civic educational function. Dramas, and in particular (...)
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  9. Mimesis y distancia de la verdad en República y Sofista.Graciela E. Marcos de Pinotti - 2009 - Apuntes Filosóficos 19 (34).
    En República, libro X, Platón justifica su exclusión de la poesía imitativa mediante argumentos metafísicos y psicológicos. Al hacerlo, enfatiza la distancia de los productos de la imitación respecto de la verdad, y los condena porque apelan al elemento inferior del alma. En Sofista 233d- 236c, se propone una crítica similar contra la sofistería. El imitador puede hacer eidola, que puede ser considerado como real por un ignorante. En ambos casos Platón se refiere a la distancia respecto de la verdad (...)
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  10.  62
    Art, Mimesis, and the Avant-Garde: Aspects of a Philosophy of Difference.Andrew E. Benjamin - 1991 - Routledge.
    Art, Mimesis and the Avant-Garde explores the relationship between art and philosophy. Andrew Benjamin argues for a reworking of the task of philosophy in terms of the centrality of ontology. It is in relation to this centrality, understood through the differences between modes of being, that art, mimesis, and the avant-garde come to be presented. A fundamental part of this book is the original interpretations of important contemporary painters and their themes: Lucian Freud's self-portraits, Francis Bacon 's use (...)
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  11.  13
    Seeing Through Plato’s Looking Glass. Mythos and Mimesis From Republic to Poetics.Andrea Capra - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):75-86.
    This paper revisits Plato’s and Aristotle’s views on mimesis with a special emphasis on mythos as an integral part of it. I argue that the Republic ’s notorious “mirror argument” is in fact ad hominem : first, Plato likely has in mind Agathon’s mirror in Aristophanes’ Thesmoforiazusae, where tragedy is construed as mimesis ; second, the tongue-in-cheek claim that mirrors can reproduce invisible Hades, when read in combination with the following eschatological myth, suggests that Plato was not committed (...)
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  12.  32
    Mimesis Reconsidered: Adorno and Tarkovsky Contra Habermas.Simon Mussell - 2013 - Film-Philosophy 17 (1):212-233.
    In this paper, I offer a reconsideration of the complex concept of mimesis, as it is deployed in the critical theory of Theodor W. Adorno, which, I argue, provides some interesting and original avenues through which we may interpret some of the infinitely engaging if enigmatic films of Andrei Tarkovsky. The paper is divided into two parts. In the first, I explore Adorno's development and usage of the concept of mimesis, as well as the latter's fall into disfavour (...)
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  13.  45
    Plato on Mimesis and Mirrors.Rebecca Bensen Cain - 2012 - Philosophy and Literature 36 (1):187-195.
    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 (...)
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  14.  23
    Arqueología de la mímesis humana. La condición paradójica de la acción imitativa.Castor M. M. Bartolomé Ruiz - 2015 - Revista de Filosofía (Madrid) 40 (2):45-61.
    Este ensayo presenta un análisis arqueo-genealógico de la mímēsis humana en dos momentos: en su arkhē pre-socrático y en la interpretación platónica de la misma. El mismo desarrolla la tesis de que la mímēsis es una facultad humana atravesada por la condición paradójica a partir de la cual es factible su instrumentalización alienante de las conciencias, pero también su uso creativo para producir diferencias de lo semejante y semejanzas de lo diferente. la condición paradójica impide el reduccionismo de la mímēsis (...)
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  15.  32
    Aesthetic Experience, Mimesis and Testimony.Roger W. H. Savage - 2012 - Études Ricoeuriennes / Ricoeur Studies 3 (1):172-193.
    In this article, I relate the demand that Paul Ricoeur suggests mimesis places on the way we think about truth to the idea that the work of art is a model for thinking about testimony. By attributing a work’s epoché of reality to the work of imagination, I resolve the impasse that arises from attributing music, literature, and art’s distance from the real to their social emancipation. Examining the conjunction, in aesthetic experience, of the communicability and the exemplarity of (...)
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  16.  21
    Antyczne źródła pojęcia \"mimesis\".Rafał Michalski - 2005 - Filo-Sofija 5 (1(5)):45-64.
    Author: Michalski Rafał Title: ANCIENT SOURCES OF MEANING OF THE TERM “MIMESIS” (Antyczne źródła pojęcia mimezis) Source: Filo-Sofija year: 2005, vol:.5, number: 2005/1, pages: 45-64 Keywords: ‘MIMESIS’, PLATO, PYTHAGORAS Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:In this article I show the evolution of meaning of the term ‘mimesis’ in ancient Greece. I distinguish its two basic meanings: copying (imitation) and expression. The older meaning (mimesis as expression) comes (...)
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  17.  27
    Fetichismo e mimesis na filosofia da música adorniana.Vladmir Safatle - 2007 - Discurso 37:365-406.
    Este artigo analisa o conceito de fetichismo no interior da filosofia da música adorniana, a fim de mostrar como ele visa dar conta de uma ampla crítica aos processos de racionalização do material musical na modernidade ocidental. Para que o teor da crítica seja medido de maneira correta, devemos perceber como, no conceito adorniano de "fetichismo", convergem deliberadamente motivos de suas tradições de crítica ao fetichismo: a marxista e a psicanalítica. Tal estratégia nos permitirá compreender a razão pela qual o (...)
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  18.  10
    To Imitate All That is Hidden. The Place of Mimesis in Adorno’s Theory of Musical Performance.Alessandro Cecchi - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):131-138.
    The article examines the use of the concept of mimesis in Adorno’s notes towards a theory of musical performance. In trying to idiosyncratically define the latter as “reproduction”, Adorno relied on a framework elaborating on concepts introduced by Arnold Schoenberg, Hugo Riemann and Walter Benjamin – a framework that the article discusses insofar as it deals with the problem of mimesis. Specific attention is devoted to the relation between Benjamin’s essays on language and translation and Adorno’s theory of (...)
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  19.  19
    O Potencial Metafórico da Mimesis Para a Educação Na Teoria da Ação Comunicativa.Amarildo Luis Trevisan - 2001 - Utopía y Praxis Latinoamericana 6 (15):81-92.
    The article analyzes the use of visual metaphors to understand the conceptual potential of mimesis in education from the viewpoint of the theory of communicative action. The article seeks to reflect on mimesis in art from the sphere of classical antiquity up to modernity, taking as a basic pa..
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  20.  12
    Intentionality and Mimesis: Canonic Variations on an Ancient Grudge, Scored for New Mutinies.Gene Fendt - 1994 - Substance 23 (3):46.
    The thesis of this text is that representation and mimesis, and so reason and passion, are not opposed, but differ. Their presumed opposition leads to many false and therefore harmful ideas and practices, as Glaucon exhibits in his republic, but even these harmful ideas and practices exhibit not only that it is not possible to escape either mimesis or representation but also that the harm is precisely to develop a culture along the lines of a hegemonic structure wherein (...)
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  21.  7
    Ideality in Theatre. Or a Reverse Evolution of Mimesis From Plato to Diderot.María J. Ortega Máñez - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (1):107-116.
    This paper deals with a development of the ancient thought on mimesis in its modern reception as regards a certain idea of theatre. It defends the hypothesis that the figure of the character, as set up in Diderot’s Paradoxe sur le comédien, has its source in a curious reversal of the Platonic mimesis. After presenting the main tenets of Plato’s reflection on mimesis and of Diderot’s theory on character, showing their convergences and contrasts, it is analyzed how (...)
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  22.  5
    Sinnbildung und Widerstreit zwischen mimesis und methexis bei Gilles Deleuze: Zu einer Umkehrung des Platonismus in den Gemälden von Francis Bacon.Irene Breuer - 2017 - In Katharina D. Martin & Ann-Cathrin Drews (eds.), Innen - Außen - Anders: Körper Im Werk von Gilles Deleuze Und Michel Foucault. Bielefeld: Transcript Verlag. pp. 51-68.
    In dem Beitrag wird der Frage nachgegangen, wie der Widerstreit zwischen mimesis und methexis eine – so die These – ›atopische Differenz‹ hervorbringt, die den Sinn des Gegenstandes zu einer fortwährenden Bildung zwingt, einen Sinn, der sich weder vollständig erhellen noch in bestehenden Begrifflichkeiten erfassen lässt, sondern sich eher in sinnlichen Erfahrung ausdrückt. Der Begriff der Atopie bedeutet nach Franco Rella , außerhalb unseres Platzes bzw. der Grenzen unserer wahrnehmungsmäßigen und kognitiven Gewohnheiten zu sein. Die hier vorgeschlagene atopische Differenz (...)
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  23.  6
    Histoire et vérité chez Paul Ricœur et Thucydide: mimesis et enargeia.Martinho Tomé Soares - 2017 - Études Ricoeuriennes / Ricoeur Studies 8 (1):9-31.
    Cet article essaye d’analyser l’ Histoire de la Guerre du Péloponnèse de Thucydide à la lumière des thèses ricœuriennes sur l’épistémologie de la connaissance historique, notamment les trois moments essentiels de l’opération historiographique : la preuve documentaire, l’explication/compréhension et l’écriture/représentation. Ce qui nous amène à insérer le texte de Thucydide dans la séquence des trois phases de la mimésis impliquée dans toute mise en discours : préfiguration, configuration, refiguration. Le dialogue que nous établissons entre le philosophe français et l’historien grec (...)
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  24.  15
    Mimesis, fiction, paradoxes.Françoise Lavocat - 2010 - Methodos 10.
    Les théories contemporaines de la fiction, comme les poétiques de la Renaissance, privilégient une conception de la mimesis fondée sur la vraisemblance : la démonstration du profit cognitif et moral de la fiction passe toujours par une définition de l’imitation (de quelque façon qu’on la définisse) fondée sur la rationalité. L’auteur de cet article examine tout d’abord le statut des contradictions et de l’impossible chez quelques théoriciens actuels (principalement J.-M. Schaeffer, M.-L. Ryan, L. Doležel) et poéticiens du 16e siècle (...)
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  25.  12
    Chinese Ink Brush Writing, Body Mimesis, and Responsiveness.Mathias Obert - 2013 - Dao: A Journal of Comparative Philosophy 12 (4):523-543.
    This essay aims at an elucidation of the performative relation connecting artistic mimesis with the living body. Encompassing art theory and phenomenology of the body, the scope is to evince a crucial link between aesthetic interpretation, body motion, and mimetic creativity, with general implications for reflection on the body, as well as a deeper understanding of a major element of ancient Chinese culture. By mainly analyzing Chinese texts on ink brush writing, as well as some testimony taken from 20th (...)
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  26.  33
    The Many Faces of Mimesis: Selected Essays From the 2017 Symposium on the Hellenic Heritage of Western Greece (Heritage of Western Greece Series, Book 3).Heather Reid & Jeremy DeLong (eds.) - 2018 - Sioux city, Iowa: Parnassos Press.
    Mimesis can refer to imitation, emulation, representation, or reenactment - and it is a concept that links together many aspects of ancient Greek Culture. The Western Greek bell-krater on the cover, for example, is painted with a scene from a phlyax play with performers imitating mythical characters drawn from poetry, which also represent collective cultural beliefs and practices. One figure is shown playing a flute, the music from which might imitate nature, or represent deeper truths of the cosmos based (...)
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  27.  20
    The Aesthetics of Mimesis. Ancients Texts and Modern Problems. [REVIEW]Dimitri El Murr & S. Halliwell - 2002 - Journal of Hellenic Studies 124 (215):219-220.
  28.  35
    Undercover Education: Mice, Mimesis, and Parasites in the Teaching Machine.Helena Pedersen - 2012 - Studies in Philosophy and Education 31 (4):365-386.
    What happens to education when the potential it helps realizing in the individual works against the formal purposes of the curriculum? What happens when education becomes a vehicle for its own subversion? As a subject-forming state apparatus working on ideological speciesism, formal education is engaged in both human and animal stratification in service of the capitalist knowledge economy. This seemingly stable condition is however insecured by the animal rights activist as undercover learner and—worker, who enters education and research laboratories under (...)
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  29. The Image of a Second Sun: Plato on Poetry, Rhetoric, and the Technē of Mimēsis.Jeffrey Anthony Mitscherling - 2006 - Humanity Books.
  30. Aristotle on Tragic and Comic Mimesis.Leon Golden - 1992 - Oup Usa.
     
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  31. Mimesis on the Move: Theodor W. Adorno's Concept of Imitation.Karla L. Schultz - 1990 - P. Lang.
  32.  39
    Viviana Suñol, Más allá del arte: mímēsis en Aristóteles, Buenos Aires: Edulp, 2012, 242 pp. [REVIEW]Mariana Noé - 2012 - Areté. Revista de Filosofía 24 (2):405-410.
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  33.  40
    Book Review: Mimesis: Culture, Art, Society. [REVIEW]Gene Fendt - 1997 - Philosophy and Literature 21 (1):199-201.
  34.  22
    Raymund Schwager's Maieutics: "Mimesis and Freedom" and the Transformation of René Girard.Mathias Moosbrugger - 2014 - Contagion: Journal of Violence, Mimesis, and Culture 21:55-65.
    In a letter to Raymund Schwager from October 1991, René Girard arrived at a very critical verdict concerning his 1978 book Things Hidden since the Foundation of the World—the very book about which he had written almost one and a half decades before, that it contained the “essence of what I have to say” and “clarified and dissipated former misunderstandings.”1 The reason for this change of mind was Raymund Schwager himself, who had sent him the manuscript of a paper on (...)
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  35.  15
    MIMESIS EN EL QUIJOTE. Una Lectura Platónica de Su Práctica Imitativa (A Propósito de I, Caps. 49-50).Giselle von der Walde - 2006 - Ideas Y Valores 55 (130):23-37.
    Frente a argumentos tomados de las poéticas neoaristotélicas que esgrime el canónigo para condenar los libros de caballerías, don Quijote pretende mostrar con su propio ejemplo, que ese tipo de lecturas no llevan a la locura ni al abandonó de sí mismo, sino que por el contrario sacan lo mejor de la ..
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  36. Mimesis poética e imitatio pictórica: la disputa romántica sobre la pintura como justificación de la crítica de arte.Gonzalo Portales - 2005 - Philosophica 28:281-296.
    El presente artículo se refiere a la discusión de los autores del así llamado romanticismo temprano con las tesis estéticas de Lessing. En directa vinculación con los movimientos artísticos de finales de siglo XVIII y comienzos del XIX, los hermanos Schlegel se separan de la larga tradición, de procedencia aristotélica, en que la acción creadora es reducida al acto mimético, proponiendo para ello un concepto común de arte que ya no separa a la poética de la plástica, iniciando así, según (...)
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  37. Mimesis.F. Balke, Bernhard Siegert & Joseph Vogl (eds.) - 2012 - Wilhelm Fink.
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  38. Darstellung Und Sinn Zur Bedeutung der Mimesis in Kunstphilosophie Und Psychiatrie.Jan M. Broekman - 1990
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  39. Cielesność, Kompensacja, Mimesis: Wokół Pojęciowego Instrumentarium Współczesnej Antropologii Filozoficznej.Stanisław Czerniak - 2008 - Wydawn. Ifis Pan.
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  40. A New Mimesis Shakespeare and the Representation of Reality.A. D. Nuttall - 1983
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  41. Life Creative Mimesis of Emotion ; From Sorrow to Elation: Elegiac Virtuosity in Literature.Anna-Teresa Tymieniecka & World Institute for Advanced Phenomenological Research and Learning - 2000
     
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  42.  20
    The Aesthetics of Mimesis Ancient Texts and Modern Problems. [REVIEW]Sarah E. Worth - 2004 - Dialogue 43 (1):194-194.
    Steven Halliwell’s book has set a new standard in the scholarship on the philosophical aspects of mimesis. The book is clearly written, extensively researched, and, most importantly, it is a comprehensive analysis of the history and development of the complex, but often oversimplified, notion of mimesis. This is the kind of book scholars are lucky to come across in doing their own research, and a book of this level of achievement is something that we can all use as (...)
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  43. Girard and Levinas, Cain and Abel, Mimesis and the Face.Joachim Duyndam - 2008 - Contagion: Journal of Violence, Mimesis, and Culture 15:237-248.
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  44.  39
    The Two Sides of Mimesis: Girards Mimetic Theory, Embodied Simulation and Social Identification.Vittorio Gallese - 2009 - Journal of Consciousness Studies 16 (4):21-44.
    Crucial in Girard's Mimetic Theory is the notion of mimetic desire, viewed as appropriative mimicry, the main source of aggressiveness and violence characterizing our species. The intrinsic value of the objects of our desire is not as relevant as the fact that the very same objects are the targets of others' desire. One could in principle object against such apparently negative and one-sided view of mankind, in general, and of mimesis, in particular. However, such argument would misrepresent Girard's thought. (...)
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  45.  68
    Typography: Mimesis, Philosophy, Politics.Philippe LACOUE-LABARTHE - 1989 - Stanford University Press.
    Philosopher, literary critic, translator (of Nietzsche and Benjamin), Philippe Lacoue-Labarthe is one of the leading intellectual figures in France. This volume of six essays deals with the relation between philosophy and aesthetics, particularly the role of mimesis in a metaphysics of representation, and is introduced by Jacques Derrida.
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  46. To-Night "Golden Curls": Murder and Mimesis in Hitchcock's The Lodger.Sanford Schwartz - 2013 - Contagion: Journal of Violence, Mimesis, and Culture 20:181-205.
    Alfred Hitchcock’s first cinematic success, The Lodger (1926, silent), provides a case study of contagious violence in the modern metropolis. The film is ostensibly a crime thriller centered on the search for the Avenger, a serial killer modeled on Jack the Ripper. But Hitchcock raises the stakes by introducing a love plot in which the detective and the suspected killer compete for the same woman, who may or may not be the slayer’s next target. In the course of this triangular (...)
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  47.  2
    MIMESIS AS A MODE OF KNOWING: Vision and Movement in the Aesthetic Practice of Jean Painlevé.Anna Gibbs - 2015 - Angelaki 20 (3):43-54.
    :This paper explores a form of corporeal copying which it terms mimetic communication, and explores the way it is not limited to human communication but can and does operates across species. Focusing on the way movement and vision can be seen to be at work in this kind of mimetic communication, the paper argues that it constitutes an important form of affective knowledge about both human and non-human others. Taking the work of early twentieth-century documentary filmmaker Jean Painlevé, who worked (...)
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  48.  5
    On the Mimesis of Reification: Adorno’s Critical Theoretical Interpretation of Kafka.Brian O'Connor - 2013 - In Brendan Moran & Carlo Salzani (eds.), Philosophy and Kafka. New York, NY, USA: pp. 229-242.
    The case of Kafka stands at the very centre of Adorno’s articulation of modernist mimesis. His main study of Kafka is the long and complex essay “Notes on Kafka” (1953), which he republished in the collection Prisms (1955). But numerous references to Kafka are found throughout his unfinished masterpiece, Aesthetic Theory (first published in 1970) and in the four part collection of essays, Notes to Literature.
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  49.  6
    Human Uniqueness, Bodily Mimesis and the Evolution of Language.Jordan Zlatev - 2014 - Humana Mente 7 (27).
    I argue that an evolutionary adaptation for bodily mimesis, the volitional use of the body as a representational devise, is the “small difference” that gave rise to unique and yet pre-linguistic features of humanity such as imitation, pedagogy, intentional communication and the possibility of a cumulative, representational culture. Furthermore, it is this that made the evolution of language possible. In support for the thesis that speech evolved atop bodily mimesis and a transitional multimodal protolanguage, I review evidence for (...)
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  50.  13
    Aesthetics After Metaphysics: From Mimesis to Metaphor.Miguel Beistegui - 2012 - Routledge.
    This book focuses on a dimension of art which the philosophical tradition has consistently overlooked, such was its commitment – explicit or implicit – to mimesis and the metaphysics of truth it presupposes. De Beistegui refers to this dimension, which unfolds outside the space that stretches between the sensible and the supersensible – the space of metaphysics itself – as the _hypersensible_ and show how the _operation_ of art to which it corresponds is best described as _metaphorical_. The movement (...)
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