Results for 'Mimetic Poetry'

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  1. Dialectical Rhetoric and Socrates' Treatment of Mimetic Poetry in Book 10 of the Republic.Mark Matthew Moes - 2011 - Philosophy Study 1 (1):1-21.
  2.  8
    On the Paradigmatic Dimension of Mimetic Poetry in Republic 10.Hayden W. Ausland - 2008 - Norsk Filosofisk Tidsskrift 43 (2):111-125.
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  3.  4
    Poesia Mimética y Conocimiento. La crítica de Platón a los poetas y los requisitos epistemológicos para el nuevo discurso/Mimetic Poetry and Knowledge Plato´s criticism to the poets and the epistemological requirements from the new discourse.Esteban Guio Aguilar - 2014 - Pensando - Revista de Filosofia 4 (8):42.
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  4.  4
    "'Twas Nature Gnaw'd Them to This Resolution": Byron's Poetry and Mimetic Desire.Ian Dennis - 2005 - Contagion: Journal of Violence, Mimesis, and Culture 12 (1):115-132.
    In lieu of an abstract, here is a brief excerpt of the content:"'Twas Nature Gnaw'd Them to This Resolution":Byron's Poetry and Mimetic DesireIan Dennis (bio)1. IntroductionWe all know Lord Byron, I presume. Know him as a paradigmatic object of cultural desire, as the quintessentially romantic individualist whose haughtily transgressive rejection of his society turned him into one of its most compelling models and objects, the endlessly provocative rival of a multitude of young men to follow—and they are still (...)
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  5.  37
    Philosophy on poetry, philosophy in poetry.Robin Attfield - 2009 - In Jinfen Yan & David E. Schrader (eds.), Creating a Global Dialogue on Value Inquiry: Papers From the Xxii Congress of Philosophy (Rethinking Philosophy Today). Edwin Mellen Press. pp. 13-19.
    The relations of philosophy and poetry include but are not exhausted by Plato’s hostility to mimetic poetry in the Republic and Aristotle’s defence of it in the Poetics. For poetry has often carried a philosophical message itself, from the work of Chaucer and Milton to that of T.S. Eliot. In yet earlier generations, poetry was chosen as the medium for conveying a philosophical message by (among Greek philosophers) Xenophanes, Parmenides and Empedocles, and (at Rome) by (...)
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  6.  56
    On Mimetic Style in Plato's Republic.Russell Winslow - 2012 - Philosophy and Rhetoric 45 (1):46-64.
    In book 3 of his Republic, Plato has Socrates undertake an assessment of the educational curriculum that the city (which is being constructed by him in speech) will implement for its youth. Consequently we see that Socrates assigns to poetry a crucial importance; by their imitation of it, poetry shapes the citizens with an initial formation, casts them within a certain orientation, and places them on a path leading in an already conceived direction, toward some unarticulated good. Thus, (...)
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  7.  8
    Cavarero’s Muse: The Troubling Power of Mimetic Inclinations.Giulia Ulla Rignano - 2023 - Critical Horizons 24 (2):131-146.
    This article engages with Adriana Cavarero’s analysis of the Muse of Greek oral poetry to rethink the relationship between mimesis and narration, and the shaping power of the act of narration on the subject. I suggest that Cavarero’s reading of the Muse provides an understanding of mimesis that moves beyond representation to a form of contagion between embodied and temporal subjectivities. To clarify this, I show how Cavarero’s Muse anticipates her critique of rectitude in Inclinations and makes it clear (...)
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  8. Speech Acts and Poetry.Leni Garcia - 2009 - Philosophia 37 (2).
    Contrary to Austin's view that a fanciful use of language, like poetry, does not carry illocutionary acts and is therefore "parasitic," the author follows through C. Carroll Hollis' work in showing that poets use illocutionary acts in a certain way that may be studied meaningfully, thereby making a speech act a form of literary criticism. She does this by applying the categories of speech acts in her study of some of the love poems of a Filipino poet, Dr. Elynia (...)
     
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  9.  63
    A close examination of the pseudo-Aristotelian Mechanical Problems: The homology between mechanics and poetry as technē.Michael A. Coxhead - 2012 - Studies in History and Philosophy of Science Part A 43 (2):300-306.
    The pseudo-Aristotelian Mechanical Problems is the earliest known ancient Greek text on mechanics, principally concerned with the explanation of a variety of mechanical phenomena using a particular construal of the principle of the lever. In the introduction, the author (thought to be an early Peripatetic) quotes the tragic poet Antiphon to summarise a discussion of the techne-physis (art-nature) relationship and the status of mechanics as a techne. I argue that this citation of a poet is an Aristotelian cultural signature, intended (...)
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  10. Plato and the dangerous pleasures of poikilia.Jonathan Fine - 2021 - Classical Quarterly 71 (1):152-169.
    A significant strand of the ethical psychology, aesthetics and politics of Plato's Republic revolves around the concept of poikilia, ‘fascinating variety’. Plato uses the concept to caution against harmful appetitive pleasures purveyed by democracy and such artistic or cultural practices as mimetic poetry. His aim, this article shows, is to contest a prominent conceptual connection between poikilia and beauty (kallos, to kalon). Exploiting tensions in the archaic and classical Greek concept, Plato associates poikilia with dangerous pleasures to redirect (...)
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  11.  5
    Plato and the Arts.Christopher Janaway - 2006 - In Hugh H. Benson (ed.), A Companion to Plato. Malden, MA: Wiley-Blackwell. pp. 388–400.
    This chapter contains sections titled: The Arts and Education in Republic II and III The Case against Mimetic Poetry in Republic X Inspiration and Beauty Note.
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  12.  22
    De Platón para los poetas: crítica, censura y destierro.Carlos Julio Pájaro M. - 2014 - Eidos: Revista de Filosofía de la Universidad Del Norte 20:109-144.
    Resumen A pesar de que uno de los objetivos del planteamiento platónico en República acerca de la formación del carácter de los guardianes es la critica, la censura y el destierro de los poetas y de la poesía mimética como "recurso pedagógico" por su inutilidad como fuente de conocimiento, Platón admite la introducción de cierto tipo de poesía dentro de su programa educativo. No es, entonces, adecuado extender a todo el pensamiento platónico una tesis exclusiva del libro X, porque Platón (...)
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  13. Parmenides, Plato, and Μίμησις.Jeremy DeLong - 2018 - In Heather Reid & Jeremy DeLong (eds.), 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). Sioux city, Iowa: Parnassos Press. pp. 61-74.
    Evidence for a Parmenidean influence on Plato’s Republic typically focuses on content from Bks. V-VI, and the development of Plato’s Theory of Forms. This essay aims to suggest that Plato’s censorship of poetic content in Bks. II-III—particularly the rules for portraying divine nature (376e-383c)—also draw heavily upon the Eleatic tradition, particularly Parmenides’s. Identifying this further Eleatic influence will be enhanced by my own reading of Parmenides. This reading advocates understanding Parmenides in a more Xenophanean-vein—i.e. by taking What-Is to be an (...)
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  14.  16
    Mimesis y arquetipo: Filón 'rescata' al poeta platónico.Carolina Delgado - 2015 - Circe de Clásicos y Modernos 19 (1):43-57.
    Este trabajo examina el tópico de la poesía imitativa en Platón. Su objetivo es averiguar si, para Platón, puede haber una mimesis de valor y, consiguientemente, una poesía mimética aceptable. Para ello se analizan dos secciones de República concernientes a una imitación válida. Esta se basaría en el conocimiento dialéctico de las realidades inteligibles; condición que no puede ser cubierta por el poeta. Mi hipótesis es que la solución a este problema reside en la idea platónica de 'diseño', que -derivado (...)
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  15.  26
    Poetic Imitation:_ The Argument of _Republic 10.Sarale Ben-Asher - 2024 - Apeiron 57 (1):55-81.
    The paper offers a new reading of the argument against poetry in Plato’s Republic 10. I argue that Socrates’ corruption charges rely on the tripartite theory of the soul, and that metaphysical doctrines play a role only in the first charge, which demonstrates that the poets are not qualified to teach by reducing tragic poetry to mimetic skill. This accusation clears the way for two corruption charges: the strengthening of appetite, and the softening of spirit (i.e., ‘the (...)
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  16.  67
    The world and image of poetic language: Heidegger and Blanchot.Jennifer Gosetti-Ferencei - 2012 - Continental Philosophy Review 45 (2):189-212.
    This essay engages ways in which the manifestation of ‘world’ occurs in poetry specifically through images, and how we can conceive of the imagination in this regard without reducing the imagination to a mimetic faculty of consciousness subordinate to cognition. Continental thought in the last century offers rich resources for this study. The notion of a ‘world’ is related to the poetic image in ways fundamental to the Heidegger’s theory of language, and may be seen in Continental poetics (...)
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  17.  23
    Amara è la giustizia di Radamante. Carlo Michelstaedter e l’antica discordia tra poesia e filosofia.David Micheletti - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):85-98.
    What makes Carlo Michelstaedter’s life and work worthy of a reflection on Italian aesthetics is his erratic attitude when taking a stance in the ancient discord between Philosophy and Poetry. This, since Plato’s times, as an original item, expects and transcends each historical chapter of the literary critique and each kind of philosophy of history. Michelstaedter justapoxes names such as Parmenides, Sophocles, Socrates, Christ and the Ecclesiastes in an anti-genealogical manner, that is against fathers and masters as well as (...)
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  18.  22
    The quest for a poetics of goodness in Plato and Aristotle.Dairo Orozco - 2012 - Ideas Y Valores 61 (150):179-202.
    The paper, which compares Plato and Aristotle's different approaches towards artistic activity, is divided into three parts. The first part discusses Plato's Ion on mimesis and technē, as well as the role that poetry plays in the Republic. The second section offers an account of Aristotle's idea of happiness as the end of action. The last section of this study deals with an attempt to reconcile Plato and Aristotle's attitude towards mimetic art in a treatise by a Neoplatonic (...)
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  19.  17
    The Unmediated Vision. [REVIEW]F. A. - 1956 - Review of Metaphysics 9 (3):519-519.
    Poetry is frankly regarded by the author as a mode of knowledge; as such, it presupposes a mediating principle, by means of which the mind, in a poetic act reducing experience to meaning, is able to overcome the "tyranny" of the senses. But the dissipation of "tradition," the unavailability of mediating symbols, as once Christianity afforded, has left the modern poet experience only with which to mediate experience; perception itself must somehow be rendered creative of an order at once (...)
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  20.  12
    The Unmediated Vision. [REVIEW]A. F. - 1956 - Review of Metaphysics 9 (3):519-519.
    Poetry is frankly regarded by the author as a mode of knowledge; as such, it presupposes a mediating principle, by means of which the mind, in a poetic act reducing experience to meaning, is able to overcome the "tyranny" of the senses. But the dissipation of "tradition," the unavailability of mediating symbols, as once Christianity afforded, has left the modern poet experience only with which to mediate experience; perception itself must somehow be rendered creative of an order at once (...)
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  21.  4
    The Polis and the Stage: Performance, Genre, and Gender in Plato's Laws.Marcus Folch - 2015 - New York: Oxford University Press USA.
    What role did poetry, music, song, and dance play in the social and political life of the ancient Greek city? How did philosophy respond to, position itself against, and articulate its own ambitions in relation to the poetic tradition? How did ancient philosophers theorize and envision alternatives to fourth-century Athenian democracy? The City and the Stage poses such questions in a study of the Laws, Plato's last, longest, and unfinished philosophical dialogue. Reading the Laws in its literary, historical, and (...)
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  22. Die Wahrheit und die schöne Täuschung: Zum Verhältnis von Dichtung und Philosophie im Platonischen Denken.Günter Figal - 2000 - Philosophisches Jahrbuch 107 (2):301-315.
    Plato's cntique of poetry in the Republic aims at elucidating the relationship between poetry and philosophy to show the possibility of philosophical thinking. Both philosophy and poetry represent two own ways of experience depending on each other. While poetry is characterized as deceptive, philo- sophy proves herself as experience of tmth with an offspnng in her strife with poetry's untmth, since the latter is unable to express the difference fundamental to her st~cture as mimesis or (...)
     
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  23.  28
    The Aesthetics of Mimesis: Ancient Texts and Modern Problems.Stephen Halliwell - 2002 - Princeton University Press.
    Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, (...)
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  24. In and Out of Character: Socratic Mimēsis.Mateo Duque - 2020 - Dissertation, Cuny Graduate Center
    In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several (...)
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  25.  29
    Fire from Heaven in Elemental Tragedy: From Hölderlin’s Death of Empedocles to Nietzsche’s Dying Socrates.Peter Warnek - 2014 - Research in Phenomenology 44 (2):212-239.
    The paper considers the legacy of Empedocles as it bears upon the difficulty confronted by Hölderlin in his Death of Empedocles: how are we to understand Hölderlin’s failure to complete this ‘mourning play’ despite his continued and repeated efforts? This difficulty is elaborated through a reading of Hölderlin’s own understanding of “elemental tragedy” as it is presented and developed in the three dense so-called Homburg essays on tragedy. It is evident that the understanding of tragedy that emerges here entails a (...)
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  26.  27
    The Possibility of Plato's Diegesis Through the Moving Image.Doga Col - 2022 - In Cinema studies: Different perspectives. Sarasota: University of South Florida M3 Publishing. pp. 15-28.
    When we think of diegesis and diegetic in film studies, we know what the words refer to within the confines of the traditional scholarly definition of film in the 20th and 21st centuries. This understanding comes from a certain ontological common sense that narratologically film has a dual nature that consists of mimesis and diegesis. Thinking about narration through images and sound, as opposed to the live-acted or read drama or epos in the times of Plato and Aristotle, has given (...)
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  27.  35
    The Philosophy of Documentary Film.David LaRocca (ed.) - 2016 - Lanham: Lexington Books.
    Perhaps nowhere in the broad expanse of types of film is the old “quarrel between philosophy and poetry” more evident—and also more vitally relevant—than in the genre or mode of film known as documentary. Documentary film is just another form of poetic imitation, in its variety of instances and complexity of fabrication, it is just as much caught up with the limitations—and effects—of mimetic art, including fiction film. This book affords a prismatic perspective on documentary cinema, inviting the (...)
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  28. L’influsso morale dell’arte. Danto, Platone e le strategie della Mimesis.Francesco Lesce - 2021 - Rivista di Estetica 77:93-109.
    Danto’s interpretation about Plato’s original condemnation of art doesn’t ground in a rigorous and accurate exegesis of the Platonic text. This contributed to making the interpreters doubtful (e.g. Halliwell), since Danto seems to conceive the philosophical genesis of mimesis attributing to it an excessively univocal meaning as compared to Platonic theses. However, interesting topics about the dangers of poetry and the moral and political implications of the “philosophical disenfranchisement of art” arise from the few Danto’s mentions about Plato’s psychological (...)
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  29.  8
    The Wallflower Avant-Garde: Modernism, Sexuality, and Queer Ekphrasis.Brian Glavey - 2016 - Oxford University Press USA.
    The Wallflower Avant-Garde highlights a strain of formalism visible in both modernist literature and contemporary queer studies, drawing attention to an aesthetic that is as quiet and quirky as it is queer. In studies of Gertrude Stein, Djuna Barnes, Richard Bruce Nugent, Frank O'Hara, and John Ashbery, Brian Glavey argues for a recalibrated understanding of the relation between sexuality and the aesthetic, revealing a non-oppositional avant-gardism that opts out of some of the binaristic imperatives that have structured recent debates in (...)
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  30.  59
    Metaphor and Transcendence.Karsten Harries - 1978 - Critical Inquiry 5 (1):73-90.
    Ever since Aristotle, metaphor has been placed in the context of a mimetic theory of language and of art. Metaphors are in some sense about reality. The poet uses metaphor to help reveal what is. He, too, serves the truth, even if his service is essentially lacking in that "Metaphor consists in giving the thing a name that belongs to something else."1 Thus it is an improper naming. This impropriety invites a movement of interpretation that can come to rest (...)
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  31.  6
    Mimêsis and the Platonic Dialogue.Voula Tsouna - 2013 - Rhizomata 1 (1):1-29.
    : The Republic is notorious for its attack against poetry and the final eviction of the poets from the ideal city. In both Book III and Book X the argument focuses on the concept of mimêsis, frequently rendered as ‘imitation’, which is partly allowed in Book III but unqualifiedly rejected in Book X. However, several ancient authors view Plato’s dialogues as products of mimêsis and Plato as an imitator. Plato himself acknowledges the mimetic character of his enterprise and (...)
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  32. Plato on Poetic and Musical Representation.Justin Vlasits - 2021 - In Julia Pfefferkorn & Antonino Spinelli (eds.), Platonic Mimesis Revisited. Academia – ein Verlag in der Nomos Verlagsgesellschaft. pp. 147-165.
    Plato’s most infamous discussions of poetry in the Republic, in which he both develops original distinctions in narratology and advocates some form of censorship, raises numerous philosophical and philological questions. Foremost among them, perhaps, is the puzzle of why he returns to poetry in Book X after having dealt with it thoroughly in Books II–III, particularly because his accounts of the “mimetic” aspect of poetry are, on their face, quite different. How are we to understand this (...)
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  33.  45
    The paradox of kandinsky's abstract representation.Kenneth Berry - 2005 - Journal of Aesthetic Education 39 (1):99-104.
    In lieu of an abstract, here is a brief excerpt of the content:The Paradox of Kandinsky's Abstract RepresentationKenneth BerryThere is a paradox in the relationship between Kandinsky's use of the terms, "abstract" and "concrete," which is presented in the expression, "Kandinsky's abstract representation." Thisexpression, while being apparently contradictory, may point to a feature underpinning Kandinsky's art, which is pivotal to a proper experience of his work, just as, in Christopher Middleton's view, a poetic language may be pivotal to the formation (...)
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  34. 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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  35.  35
    Masculinity as Virility in Tahar Ben Jelloun's Work.Lahoucine Ouzgane - 1997 - Contagion: Journal of Violence, Mimesis, and Culture 4 (1):1-13.
    In lieu of an abstract, here is a brief excerpt of the content:MASCULINITY AS VIRILITY IN TAHAR BEN JELLOUN'S WORK Lahoucine Ouzgane University ofAlberta To be a woman is a natural infirmity and every woman gets used to it. To be a man is an illusion, an act of violence that requires no justification. (Ben Jelloun, The Sand Child, 70) Inthe last ten to fifteen years, scholarly attention to gender issues in.the Middle East and North Africa has been focused almost (...)
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  36.  49
    Plato and the Poets (review).Catalin Partenie - 2012 - Journal of the History of Philosophy 50 (2):291-292.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Plato and the PoetsCatalin ParteniePierre Destrée and Fritz-Gregor Herrmann, editors. Plato and the Poets. Mnemosyne Supplements: Monographs on Greek and Latin Language and Literature, 328. Leiden-Boston: Brill, 2011. Pp. xxii + 434. Cloth, $217.00.This beautifully produced volume is a collection of nineteen essays, half of them being initially presented as papers given at a 2006 conference in Louvain. Seven chapters focus on the Republic and address a variety (...)
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  37.  8
    Píndaro y la "verdad" del poema.Aida Míguez Barciela - 2016 - Synthesis 23.
    Este artículo pretende contribuir en alguna medida a la descripción de la forma de las Odas de Píndaro. Teniendo en cuenta que el decir poético es en primera instancia un proyecto de mímesis, intentamos mostrar en qué sentido los epinicios están diseñados para romper constantemente la ilusión mimética. Esta ruptura asume diversas formas, entre las cuales paremias, deixis y pasajes autorreferenciales son quizá las más relevantes. The aim of this paper is to contribute to the description of the form of (...)
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  38.  9
    Nietzsche and Mimesis.Mark P. Drost - 1986 - Philosophy and Literature 10 (2):309-317.
    In lieu of an abstract, here is a brief excerpt of the content:NIETZSCHE AND MIMESIS by Mark P. Drost The phenomenon of imitation as it operates in Nietzsche's dieory of ecstasy is the central and most important element in his theory of tragedy and art in general. In Nietzsche's vision oftragedy we see diat this ecstasy is not limited to the individual artist, but it infects the tragic chorus and the spectators as well. Nietzsche's reinterpretation of the concept of imitation (...)
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  39.  5
    The Pindaric First Person in Flux.B. G. F. Currie - 2013 - Classical Antiquity 32 (2):243-282.
    This article argues that in Pindar's epinicians first-person statements may occasionally be made in the persona of the chorus and the athletic victor. The speaking persona behind Pindar's first-person statements varies quite widely: from generic, rhetorical poses—a laudator, an aoidos in the rhapsodic tradition (the “bardic first person”), an Everyman (the “first person indefinite”)—to strongly individualized figures: the Theban poet Pindar, the chorus, the victor. The arguable changes in the speaker's persona are not explicitly signalled in the text. This can (...)
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  40. The moral of the story: on fables and philosophy in Plato's 'Symposium'.Rick Benitez - 2015 - Modern Greek Studies (Australia and New Zealand) 1:1-14.
    Scholars have puzzled over the fact that Plato’s criticisms of poetry are themselves contained in mimetic works. This paper sheds light on that phenomenon by examining an analogous one. The Symposium contains one fable which is criticised by means of another which is thought to represent Plato’s own view. Diotima’s fable, however, is suspended within a larger narrative that invites us to examine and question it. The Symposium thus affords opportunity to observe Plato’s criticisms of a genre and (...)
     
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  41. Aesthetics and History: A Study of Lessing, Rousseau, Kant, and Schiller.Timothy Sean Quinn - 1985 - Dissertation, The Catholic University of America
    This dissertation treats two themes crucial for the emergence of modern aesthetics. First, it considers the "aesthetic consciousness," which results from a rejection of the Aristotelian mimesis doctrine, and which seeks to establish art as independent from either morality or nature. Second, it treats the "historical consciousness," required to bring about the aesthetic consciousness, and eventually to raise it to the level of a moral ideal. Thus, the dissertation begins by considering that version of the mimetic argument rejected by (...)
     
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  42.  17
    Romance and Romanticism.Howard Felperin - 1980 - Critical Inquiry 6 (4):691-706.
    The work of Northrop Frye, evenly divided as it is between those earlier and later literatures and equally influential in both fields, will serve to illustrate the literary-historical myth I have begun to describe. "Romanticism," he writes, "is a 'sentimental' form of romance, and the fairy tale, for the most part, a 'sentimental' form of folk tale."1 Frye's terms are directly adopted from Schiller's famous essay, "Über naive und sentimentalische Dichtung," though "naive" for Frye means simply "primitive" or "popular" and (...)
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  43.  19
    Benjamin redux.Gerhard Richter - 1996 - Philosophy and Literature 20 (1):200-217.
    In lieu of an abstract, here is a brief excerpt of the content:Benjamin ReduxGerhard RichterProfane Illumination: Walter Benjamin and the Paris of Surrealist Revolution, by Margaret Cohen; 271 pp. Berkeley: University of California Press, 1993, $35.00 cloth, $14.00 paper.Walter Benjamin and the Antinomies of Tradition, by John McCole; xiii & 329 pp. Ithaca: Cornell University Press, 1993, $45.00 cloth, $18.95 paper.Walter Benjamin’s Passages, by Pierre Missac, trans. Shierry Weber Nicholson; xvii & 221 pp. Cambridge: MIT Press, 1995, $25.00.Walter Benjamin’s Philosophy: (...)
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  44.  9
    Japan, France, and East-West Aesthetics: French Literature, 1867-2000 (review). [REVIEW]Carol S. Gould - 2006 - Philosophy East and West 56 (4):699-701.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Japan, France, and East-West Aesthetics: French Literature, 1867-2000Carol S. GouldJapan, France, and East-West Aesthetics: French Literature, 1867-2000. By Jan Walsh Hokenson. Madison and Teaneck: Fairleigh Dickinson University Press, 2004. Pp. 520. $80.00.Jan Walsh Hokenson's masterful work, Japan, France, and East-West Aesthetics: French Literature, 1867-2000, traces the migration of the Japanese aesthetic into French art, through French literature, and ultimately into Western modernism and postmodernism. Despite the title, this (...)
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  45.  25
    The crisis of greek poetics: A re-interpretation. [REVIEW]Michael Murray - 1973 - Journal of Value Inquiry 7 (3):173-187.
    The central thrust of Platonic poetics - for Plato had no aesthetics - is not the outright abolition of poetry, nor merely a relocation of it in view of recent acquisitions in the scientific knowledge of the day. Rather it is the quest for an authentic poetry and for ways of differentiating true from false poetry. The experience of transcendence through poetic symbols - of insight into ultimate reality - cannot be explained on the basis of the (...)
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  46. Uno sguardo di passaggio. Mimesi e desiderio nelle Ho­rae canonicae di Wystan H. Auden [A passing glance. Mimesis and desire in Horae canonicae of Wystan H. Auden]. [REVIEW]Italo Testa - 2008 - la Società Degli Individui 33:68-83.
    In Horae canonicae W. H. Auden ha messo a tema la dimensione mi­metica della condizione umana. Il saggio ricostruisce in tal senso l’an­tropologia negativa di Auden, prendendo le mosse dall’analisi del desi­de­rio di riconoscimento quale elemento centrale dell’identità storica. Attra­ver­so una lettura dei motivi della folla e del doppio, e sullo sfondo del poe­ma The Age of Anxiety e della produzione saggistica di Auden, si mo­stra che la «routine della lode e del biasimo» innesca meccanismi imi­tativi di sdoppiamento e rivalità (...)
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  47.  29
    Book Review: The Language of the Cave. [REVIEW]A. Serge Kappler - 1996 - Philosophy and Literature 20 (1):266-268.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Language of the CaveA. Serge KapplerThe Language of the Cave, by Andrew Barker and Martin Warner; vi & 198 pp. Edmonton: Academic Printing & Publishing, 1993, $54.95 cloth, $21.95 paper.The scholarly essays in this collection focus on the tension between Plato’s expressed views about style, poetry, and intellectual discourse on the one hand and his own practice on the other. Why does a man fiercely hostile (...)
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  48.  18
    Mimetic Minds: Meaning Formation.Mimetic Minds - 2006 - In Angelo Loula, Ricardo Gudwin & Jo?O. Queiroz (eds.), Artificial Cognition Systems. Idea Group Publishers. pp. 327.
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  49.  24
    Trust Also Means Centering Black Women's Reproductive Health Narratives.Shameka Poetry Thomas - 2022 - Hastings Center Report 52 (S1):18-21.
    Hastings Center Report, Volume 52, Issue S1, Page S18-S21, March‐April 2022.
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  50. “Sa clarte premiere”: Cataract removal as.Metaphor in Fourteenth-Century French Poetry - 2008 - Mediaevalia 29:67.
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