Mimesis

Culture—Art—Society

Häftad, Engelska, 1996

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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 and shifting meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Moliere, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts.

Produktinformation

Utgivningsdatum1996-01-30
Mått229 x 154 x 25 mm
Vikt635 g
FormatHäftad
SpråkEngelska
Antal sidor400
FörlagUniversity of California Press
ISBN9780520084599
ÖversättareReneau, Don

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AcknowledgmentsIntroduction1. Point of DepartureOn Auerbach's History of MimesisWorldmaking and Social PressureLiterary and Social Mimesis Part I. Mimesis as Imitation, the Productionof Appearances, and Fiction2. On the Origins of the Concept3. Imitation, Illusion, Image (Plato)Similarity, Imitation, EducationAppearance and lllusionImages as Appearances with the Characterof Similarity4. The Break in the History of Mimesis:The Use of WritingOral PoetryBetween Oral and Literate Culture5. Poetic Mimesis (Aristotle)Part II. Mimesis as lmitatio, the Expression of Power,and Literate Subjectivity6. Mimesis as lmitatio7. Poetics and Power in the Renaissance8. lntertextuality, Fragmentation, Desire:Erasmus, Montaigne, ShakespearePart III. Mimesis as Enactment of the State9. The Conflict Over History: The Querelle des Ancienset des ModernesOn the History of the ConflictRacine and MoliereStructural Results10. Mimesis as the Self-Representation of Political PowerThe Portrait of the KingOn the Dramatic Practice of French ClassicismThe Representation of Daily Life in Comedy11. Against Mimesis as Self-RepresentationThe Critique of Self-Representation in Madamede LafayetteNegative AnthropologyTwo Attempts to Transcend Mimesis Part IV. From Imitation to the Constitutionof the Creative Subject12. Problems in the Imitation of Naturein the Eighteenth Century13. Mimesis in the Theater of the Enlightenment14. Diderot's Paradox of Acting15. The Transformation of Mimesis in LessingLessing's Argument16. Self-Mimesis (Rousseau)Self-FormationPedagogy and SeductionPart V. Mimesis as the Principle of Worldmakingin the Novel and Society17. The Mimetic Constitution of Social RealityImages of a SocietyBalzac's Illusions perdues 22518. "Mimetic Desire" in the Work of Girard19. Violence in Antiromantic LiteratureThe Authorial I and OthersThe Relationships of I and Other in the NovelLanguage, Violence, and the Internal Perspective20. The Mimesis of Violence (Girard)Part VI. Mimesis as Entree to the World, Language,and Writing21. Nonsensuous Similarity: On theLinguistic Anthropology of Benjamin22. Vital Experience (Adorno)23. The Between-Character of Mimesis (Derrida)ResultsHistorical Positions of MimesisThe Dimensions of MimesisNotesBibliographyIndex