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 (...) tragedies helped to articulate the city’s political expectations from the citizens, and they achieved it with far better efficiency than any other medium of propaganda which was available in those days. It will first reconstruct the duality within the internal structure of the Aristotelian account of mimesis in Poetics: it will show both 1.) the aesthetic and 2.) the socio-cultural dimensions of his theory of civic initiation through dramatic imitation. In the second part it will compare this Greek cultural context with a similar context in Rome in the activity and writings of Cicero. Finally, the paper presents the Renaissance republican context of early modern Europe, which also connected politico-moral education with the idea of mimesis. (shrink)

The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual representations and the (...) expansion of the narrative space. This space offers various possibilities of exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin ; the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances and Martin McDonagh’s The Pillowman ; and the narrative density and traumatic aporia of Pornography by Simon Stephens. (shrink)

The present study is an analysis of Plato’s _Timaeus-Critias_ composition process, from the point of view of discourse modeling. It intends to show that the dialogue is distinguished by an insightful articulation of composition techniques, which combine the pictorial and dramatic aspects of poetic _mimesis_. Establishing the Panateneias as an implicit reference, the work presents the performance of a sequence of narratives, produced as true discursive images. Platonic originality is revealed in _Timaeus-Critias_, therefore, as the accomplishment of a formal (...) construction that is both dramatic and representational, through a singular mimetic agency of discursive forms. (shrink)

The present study is an analysis of Plato’s _Timaeus-Critias_ composition process, from the point of view of discourse modeling. It intends to show that the dialogue is distinguished by an insightful articulation of composition techniques, which combine the pictorial and dramatic aspects of poetic _mimesis_. Establishing the Panateneias as an implicit reference, the work presents the performance of a sequence of narratives, produced as true discursive images. Platonic originality is revealed in _Timaeus-Critias_, therefore, as the accomplishment of a formal (...) construction that is both dramatic and representational, through a singular mimetic agency of discursive forms. (shrink)

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 dialogues, (...) Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Aesthetics of Representation:Dramatic Texts and Dramatic EngagementKathleen Gallagher (bio)Staking the TerritoryThere are several ways in which aesthetic discourses might be positioned in the field of drama education. While some might locate "aesthetics" in the cognitive or interpretive realm of learning, and others the affective or philosophical realm, I have chosen to speak of the discourses of aesthetics as they relate to both cognitive and embodied responses (...) to the (extra)ordinary events of a drama classroom. I am already unsatisfied with the recognizable distinctions implied in this binary, but I persist in the hope that the relationship between these learning functions will become clear as I proceed with what I have termed the sociology of aesthetics in drama practice. In drama, we attempt—collectively—to represent our lives through art as we come to know the world and our sensuous responses to it.Fenner's brief history of aesthetic experience and aesthetic analysis will further help stake the territory about which we are speaking in a drama classroom.1 Calling aesthetic experiences the "raw data" that aesthetics is meant to explain, he helpfully distinguishes between Kantian understandings of the conditions of aesthetic judgment and the emergence of those thinkers in the seventeenth and eighteenth centuries who began to focus on the psychology of aesthetic experience. Following these thinkers and further developments in the early part of the twentieth century, the work of John Dewey explored the psychological nature of what he called "an experience" in the field of education more generally.2 This article will also privilege the notion of aesthetic experience but will, more specifically, focus on an exploration of ideas borne out of aesthetic experiences that cultivate sociological questions about representation and the nature of cognitive and embodied engagement in classroom drama. Key to my view of dramatic representation is the notion of a provoked imagination. [End Page 82]In the nineteenth century, Archibald Allison claimed that it was the imagination that was responsible for what we term "aesthetic experiences."3 Earlier philosophers of aesthetics had determined that the mere presence of beauty could create an aesthetic experience, but Allison insisted upon the "exercises of the imagination" in his understanding of aesthetic experiences. Contemporary writers in the field of arts education have also favored this more active conception of aesthetic responses, such as the formidable Madeleine Grumet and Maxine Greene. They and others will be cited here in support of a conception of "aesthetic experiences" in the drama classroom as active, selective, and highly framed experiences.Dramatic Texts and Aesthetic Knowing: Framing the ExperiencesOne can hardly discuss the idea of aesthetic exploration without first engaging with the rather unwieldy idea of "creativity." Radford, citing Margaret Boden, puts forward a very helpful notion of creativity as "conceptual space."4 This "conceptual space" is what I will refer to as "the frame" carefully placed around dramatic learning, usually by a highly skilled teacher. Frequently because of this frame, something entirely forgettable to students is shaped into something worth considering. The "frame," therefore, consists of both careful pedagogical planning and, in many cases, a piece of text that ignites the conceptual space and inspires a deliberate probing. This deliberate probing, or what Radford might call creative thought, invites co-creators to "play at the boundaries of sense."5 Bruner speaks about the "creative act" as bringing about a "shock of recognition,"6 or what Radford equally describes as something speaking to something "within us." This idea is particularly helpful in deconstructing what is often at work in a collaborative piece of improvised drama activity in a classroom of young people.To this end, I would like to offer three brief episodes as examples of textual and improvised drama engagement that speak to Bruner's and Radford's ideas of "recognition," or resonance with "something within us," and to my own understanding of how ideas of representation or mimesis are operating in moments of aesthetic knowing for young people. The other principle at work, seemingly at odds with these ideas, is the notion of distance or alienation from an event, in effect a dis-identification. What I would especially hope to demonstrate in the following brief, empirical... (shrink)

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 (...) arguments on mimetic art. The article focuses on these psychological aspects suggesting to Danto the ethical reason why art, tragedy in particular, is considered by Plato to be “dangerous”. The analysis will point out that, with regard to a philosophical consideration of the mimesis, dramatic poetry (specifically, Greek theatre) is a perspicuous clue to clarify the control function exerted by art over the sphere of emotions. This will also allow us to recognize Danto’s debt to Nietzsche, with whom he shares the intention to overthrow Platonism. (shrink)

This absorbing study of Plato's criticism of poetry offers a new interpretation based upon central features of both the pre-Platonic conception of poetry and previously neglected features of Plato's various discussions of poetry and the poets. Professor Mitscherling's analysis is unique in that he concentrates on the philosophical significance of Plato's distinction between dramatic and nondramatic sorts of poetry. Mitscherling shows that this distinction proves in fact to be central to the conception of poetry that Plato consistently elaborates throughout (...) his dialogues. Mitscherling also makes a unique contribution by outlining a possible Platonic aesthetics, which draws on current work in phenomenology and hermeneutics in such a way as to promise an entirely new direction for current work in continental aesthetics. The author employs Gadamer's analyses of the ontology of the work of art, in conjunction with a phenomenological analysis of the aesthetic experience, in the construction of a foundation for aesthetics that is consistently Platonic. Mitscherling concludes with the hypothesis that Plato's criticism of poetry did not apply to poetry itself, nor was it directed to art in general or the educational system, or the Sophists. Rather, Plato was specifically against the techn? of mim'sis, that is, the technique of persuading by appearing to be what one is not, or by merely appearing to speak the truth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Pyrrhus Perplex: A Superficial View of Mimesis Andrew J. McKenna Loyola University Chicago In the interest of knowledge conveyed as experience, a teacher of literature likes to begin with a story: A man sets out to discover a treasure he believes is hidden under a stone; he turns over stone after stone but finds nothing. He grows tired of such futile undertaking but the treasure is too (...) precious for him to give up. So he begins to look for a stone which is too heavy to lift—he places all his hopes in that stone and he will waste all his remaining strength on it. This exquisite little parable from René Girard's Deceit, Desire and the Novel (176) awaits correlation with Kafka ("Before the Law"), but it can also remind us ofthe passionate imbroglio we find in Racine's Andromaque. I will dwell on the stage play on the assumption that we are even more confused about love than about legal affairs. The play embodies an essential paradox by dramatizing relations in a way that is contrary to our normal expectations of order and conduct: Mais parmi ces périls où je cours pour vous plaire, Me refuseriez-vous un regard moins sévère? (I.iv) (But among the perils I risk to please you, Would you refuse me a gaze less severe?) This is not a vassal or a servant appealing to his master, but a sovereign, Pyrrhus, appealing to his captive female slave, Andromache. Our routine categories are turned upside down. 32Andrew J. McKenna Pyrrhus has everything going for him: he is the son ofAchilles, known to his world (and ours) as the world's greatest warrior, and after his conquest of Troy he is betrothed to Hermione, daughter of Helen, the world's most beautiful woman. There is no matter for tragedy in this, a happy conclusion to the Trojan war. But Pyrrhus spurns Hermione in amorous pursuit of Andromache, whom he counts among plunder of the city he has destroyed. She is the widow of Hector whom his father has slain, which makes her the last person in the world disposed to favor his suit. Andromache is very like the stone which is too heavy to lift, for all the leverage Pyrrhus exercises by threatening to deliver her son Astyanax for slaughter by the still vengeful Greeks. And Racine makes us understand that it is not in spite of Andromache 's resistance to his appeals butjust because ofthem that Pyrrhus wastes his life trying to move her. The treasure that Pyrrhus pursues, which as the son of Achilles he has no choice but to pursue, is "la gloire," the recognized and incommensurate superiority over other mortals. Yet he describes himself plaintively to Andromache as "Vaincu, chargé de fers, de regrets consumé" (vanquished, in chains, tormented by regret). For four acts of the play Pyrrhus mostly cultivates "enslavement, failure, and shame," which is how Girard describes the masochist in the parable he invented to depict him, and in the fifth act he is slain by his Greek allies at the jealous instigation of Hermione, who then stabs herself over his body. Orestes, who lead the Greeks to the assault in amorous obedience to Hermione, goes insane. The quest for glory is a recipe for disaster. A masochist is someone whom we may describe as preferring pain to pleasure, failure to success, and when I review Pyrrhus's conduct with students, they never fail to arrive at this diagnosis. Then the task is to unpack this reductive term, which since Freud has served to label a clinical perversion. In my experience, this task is more successfully accomplished with undergraduate students, who are likely to seek an explanation in terms of the information at hand, if only because they are too distracted, too harried to do otherwise. Graduate students, on the other hand, are committed to advanced professional research, which in literature departments typically sends them in quest of the mythological roots of such a story, and no less often favors the kinds of explanations we find in Freudian psychoanalysis. I take it as a measure of the intellectual confusion of our times that we encourage... (shrink)

In this essay, I argue for three interpretative claims about the philosophical strategies and examples employed in the first of Heidegger’s three lectures on ‘The Origin of the Work of Art’. I argue that his initial response to a Van Gogh painting is intended to dramatize a confusion rather than to articulate an insight; that his invocation of a poem by C. F. Meyer serves a number of functions overlooked by other commentators; and that Heidegger’s overall approach is best understood (...) in terms of Michael Fried’s conception of modernism in painting. (shrink)

The paper argues that the ontology of Self behind Descartes’s paradigmatic modern account of passion is an obstacle to interpreting properly the account Socrates gives in the Symposium of the truth of Eros’s origin, nature, and gift to the philosophical initiate into his truth. The key to interpreting this account is located in the relation between Eros and the arithmos-structure of the community of kinds, which is disclosed in terms of the Symposium’s dramatic mimesis of the two Platonic (...) sources of being, the One Itself and the indeterminate dyad. This interpretation’s focus is the vulgar and philosophical dimensions of the phallic pun at the beginning of the dialogue. Both dimensions of the dialogue’s opening joke manifest the appearance of Eros in the dialogue as a distorted imitation of the koinonia of the greatest kinds: Being, Rest, Motion, the Same, and the Other. (shrink)

Mimesis and the portrayal of reflective life in action : Aristotle's Poetics and Sophocles' Oedipus the King -- The portrayal of reflective life in action in poetry : Shakespeare's dramatization of the poet in Sonnets 1-126 -- The portrayal of reflective life in action in music : Bach's Prelude and Fugue in B flat minor (The Well-Tempered Clavier, Book 1) and Beethoven's String Quartet in A minor, opus 132 -- The portrayal of reflective life in action in painting : (...) discovery of the inner life of sensory perception in watercolours by Turner and oil paintings by Cézanne. (shrink)

The Republic is widely recognized to be Plato’s masterpiece, but for centuries it has been the subject of much debate. Is it about the ideal state, or the soul, or art, or education, or something else altogether? Interpretations have been many and various, for two main reasons: studies have tended to concentrate on parts of this very long dialogue to the exclusion of other parts; and some of the opinions expressed in the dialogue are routinely regarded as being those of (...) Plato himself. This analysis treats the dialogue as a dialogue, a conversation between the characters presented in it, and examines the dialogue in its entirety. The result is a holistic interpretation making sense not only of the dialogue as a whole, but also its parts. Each character is a paradigm representing an aspect of the central theme of the dialogue (apparent good), and it is because of what they represent that the conversation takes the course that it does. (shrink)

In this paper, we sketch out a simple scheme to evaluate different ways in which Western society has coped with the momentous and hidden problem of envy; afterward, we consider the consequences for the constitution of the social space that these changes entail. We will argue that envy, when considered as a primal feeling, can shed light on René Girard’s notion of metaphysical desire and on diasparagmos rituals. Then, taking into account Jean-Pierre Dupuy’s endogenous fixed point thesis—concerning the constitution of (...) autotranscendent social structures that configure themselves around an attractor, a fixed point, revealed to be a product of the process of constitution, an effect and not a cause—we will consider envy as the main feedback in the system. Starting from this theoretical scenario, we will envisage three steps—on a line sketched according to mimetic theory—marked by the particular conditions and role of the feedback. We will show what kind of balance was guaranteed to Athens (taken as an exemplar archaic society, starting from its self-representation as given by Sophocles in Oedipus the King) by the complementary rituals of pharmakos and ostrakos; what equilibrium was offered to Christian medieval social structures by the doctrine of the deadly sins; and, finally, we will take a look at our own secularized society. Our aim is to apply René Girard’s theory systematically, to show how the philosophy of history that we can infer from his works can help us to detect a curious and at the same time quite dramatic change as far as the homeostatic equilibrium of our society is concerned. Thanks to this exercise, we will be able to show how the transcendental social space— by which we mean the region of possible outcomes, in terms of constraints and possibilities, of a human life in a social context—is constituted through the victimage mechanism as defined by Girard and how this constitution is affected by the performative unveiling of the mechanism itself. (shrink)

Social and cultural difference. "Only historicize": history, material culture (food, clothes, books), and the future of Dante studies -- Dante's sympathy for the other, or the non-stereotyping imagination: sexual and racialized others in the Commedia -- Contemporaries who found heterodoxy in Dante: Cecco d'Ascoli, Boccaccio, and Benvenuto da Imola on Fortuna and Inferno 7.89 -- Dante's limbo and equity of access: non-Christians, children, and criteria of inclusion and exclusion, form Inferno 4 to Paradiso 32 -- Metaphysical difference. Toward a Dantean (...) theology of eros: form Dante's lyrics to the Paradiso -- Amicus eius: Dante and the semantics of friendship -- Paradiso and the mimesis of ideas: realism versus reality -- Dante squares the circle: textual and philosophical affinities of Monarchia and Paradiso (Solutio distinctiva in Mon. 3.4.17 and Par. 4.94-114) -- Difference as punishment or difference as pleasure: from the tower of Babel in De vulgari eloquentia to the death of Babel in Paradiso 26 -- Aristotelian disruptions 1: wealth and society. Aristotle's Mezzo, courtly Misura, and Dante's Canzone "Le doci rime": humanism, ethics, and social anxiety -- Dante and wealth, between Aristotle and Cortesia: from the moral Canzoni "Le dolci rime" and "Poscia ch'amor" through Convivio to Inferno 6 and 7 -- Aristotelian disruptions 2: love and compulsion. Archeology of the Donna Gentile: the importance of disconversion in conversion narratives -- Dante and Cecco d'Ascoli on love and compulsion: the epistle to Cino, "Io sono stato," the third heaven -- "Voi che 'ntendendo il terzo ciel movete," a dramatization of "utrum de passione in passionem possit anima transformari": conflict, compulsion, consent, conversion -- Critical philology and Italian cultural history. The case of the lost original ending of Dante's Vita nuova: more notes toward a critical philology -- Critical philology and Dante's Rime. (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)

In lieu of an abstract, here is a brief excerpt of the content:How Can Satan Cast Out Satan? Violence and the Birth of the Sacred in Christopher Nolan’s The Dark Knight1Nicholas Bott (bio)Last Summer, Christopher Nolan’s final installment of the Batman trilogy hit theaters. The Dark Knight Rises promised to be the epic conclusion of a hero’s journey, a journey of a man’s transformation into a legend. Little was revealed in the official trailers, except that evil was rising in Gotham (...) City, and so too must The Batman. But in this essay I’d like to suggest that we didn’t need to view The Dark Knight Rises before seeing either evil, or Batman rise; by the end of the second film, evil and Batman have already risen—and together—in the sacred form of The Dark Knight.This essay first elucidates how Bruce Wayne’s strategy to inspire good among the citizens of Gotham, first articulated in Batman Begins, encompasses the hallmarks of Girard’s mimetic theory, including: mimesis, rivalry, scandal, and, finally, the outworking of the mimetic mechanism of the surrogate victim—the scapegoat. Next, this essay takes a closer look at the goodness, or lack thereof, of Batman’s climactic self-sacrifice with its attendant resolution. Finally, this essay demonstrates that interpretations [End Page 239] of Batman’s self-sacrifice in the movie have mirrored the disparate interpretations of Christ’s self-sacrifice, in relation to the climax and resolution of the Passion accounts.Mimetic Structure in Bruce Wayne’s StrategyBeginning With the EndThe final visual the audience is given in The Dark Knight is of Batman escaping on his Batpod. The screenplay’s description of this final scene reads: “The batpod streaks through Gotham’s underground streets, the Batman’s cape fluttering behind. A wraith...”; (TDK, 140).2 Commissioner Gordon’s voice is overheard saying, “... He’s not our hero. He’s a silent guardian, a watchful protector, a dark knight” (TDK, 140). Bruce Wayne has sacrificed himself for the sake of Gotham. But what kind of sacrifice has he made?3 In the words of Alfred, “The sacrifice he’s making [is]—to not be a hero. To be something more” (TDK, 73). And Batman has become something more. No longer a hero, the language Commissioner Gordon uses to describe Batman on behalf of Gotham is mythical and sacred. Girard understands this sacralization to be the completion of the surrogate victim mechanism, the satanic process whereby the sacrifice of an innocent scapegoat reconciles a community in the midst of crisis and violent upheaval.4 This sacred vision of Batman represents the final stage of the surrogate victim mechanism, providing evidence that the satanic has been at work. But if this is the case, something has gone terribly awry in Bruce Wayne’s strategy to inspire good. With this conclusion in mind, the flaws in Wayne’s strategy as it develops throughout Batman Begins and The Dark Knight become apparent, and correspond with each step in the mimetic process.Mimesis as PlotMimesis, or imitation, stands at the heart of The Dark Knight’s plot because it stands at the heart of Bruce Wayne’s strategy to inspire good. We encounter this strategy in Nolan’s first film, Batman Begins, as Wayne explains to Alfred his reasons for returning to Gotham City:Alfred:Are you coming back to Gotham for long, sir? [End Page 240]Bruce:As long as it takes. I want to show the people their city doesn’t belong to the criminals and the corrupt.Alfred:In the depression, your father nearly bankrupted Wayne Enterprises combating poverty. He believed his example could inspire the wealthy of Gotham to save their city.Bruce:Did it?Alfred:In a way. Their murder shocked the wealthy and the powerful into action.Bruce:People need dramatic examples to shake them out of apathy. I can’t do that as Bruce Wayne. As a man... I’m flesh and blood, I can be ignored, destroyed. But as a symbol... As a symbol, I can be incorruptible. I can be everlasting.Alfred:What symbol?Bruce:Something elemental, something terrifying.(Batman Begins)5By invoking the symbolic, Bruce Wayne believes Batman will be... (shrink)

In this paper, drawing on evidence internal to the Platonic dialogues (supplemented with some ancient testimonia), I answer the question, “How did Plato teach in the Academy?” My reconstruction of Plato’s pedagogy in the Academy is that there was a single person who read the dialogue aloud like a rhapsode (this is in contrast to the dramatic theatrical hypothesis, in which several speakers function as actors in the performance of a dialogue). After the rhapsodic reading, students were allowed to (...) ask that portions of the text to be re-read, to ask a question about the text, and were encouraged to enter into a broader conversation about the topic and themes brought out by the text. This later pedagogical method of interrogating and investigating a dialogue is of more importance than the mere reading of a dialogue. I contend that Plato’s experiences teaching were woven into some of the dialogues, and that Plato’s pedagogy reflects some of the ways that he taught in the Academy. I propose that excellent points made by students may have been written into revised forms of the dialogue. And not only good points, but also mistakes in reasoning may have been added into the dialogues. I suggest that the way certain dialogues are organized with “guest lecturers” and “tag-team” philosophical debates reflect Plato’s pedagogy in the Academy. Plato’s broadmindedness, his openness to various and opposing viewpoints, is also evident from both outside and inside of the dialogue. Lastly, drawing on the idea of Socratic mimēsis, I give a plausible curriculum for how Plato may have used the dialogues to teach them: he had his students “play” with them. Plato may have asked his students to enter into the roles of the characters in the dialogues to better understand them and the type of person they represent. Plato may have also asked students to take over from the position of the character in the dialogue and to suggest a better, truer account of things than what the characters said or did. (shrink)

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 (...) the moderns: it treats Lessing's moral interpretation of dramatic catharsis. Lessing's moral interpretation of catharsis, it is argued, jeopardizes the harmony between nature, morality and art on which the mimetic argument rests. Thus, the second chapter treats the first decisive challenge to the mimetic tradition: Rousseau's attack on the moral interpretation of catharsis. This attack follows two steps. First, Rousseau argues that the arts efface man's natural moral character. Second, Rousseau's developmental/historical account of man supports this opposition between art, on the one hand, and nature and morality, on the other. Rousseau, thus, is seen to be the first to introduce a historical consciousness of development into discussions of art, which revises the traditional links between art, nature and morality, and established a direction for Kant and Schiller. ;In light of Lessing and Rousseau, Kant's foundation of an aesthetic consciousness can be more clearly understood. Thus, the third chapter considers Kant's argument for aesthetic by considering three themes: first, Kant's notion of autonomy; second, Kant's analysis of the disinterestedness of the aesthetic judgement; third, his account of genius as the cause of fine art. ;Kant's argument, however, suggests that the aesthetic consciousness supercedes morality. Although Kant himself never pursues this suggestion, Schiller does. Thus, the final chapter treats Schiller's attempt to retrieve the moral and the natural without sacrificing the autonomy of the fine arts. Schiller does this by bringing Rousseau's historical consciousness of the human as a development beyond nature with Kant's aesthetic consciousness. This chapter, therefore, treats three themes. First, it considers how Schiller's distinction between naive and sentimental poetry translates into historical categories: ancient and modern. Second, it shows how the goal of the sentimental poet is a "moral unity" between art and nature, the necessity of which is unknown to the naive poet. Third, it considers how, through the search for a moral unity achieved only through a historical consciousness of progress from naive to sentimental, the nature of art becomes, for the first time, a function of human history. The dissertation concludes with a summary of these themes in terms of the distinction between the good and the beautiful. (shrink)

This essay investigates the rôle of the North Atlantic as a silent actant in the dramatic economy of Shakespeare’s Hamlet. It takes the series of actions of Hamlet’s deportation by sea, his nocturnal transformation on board and his surprise return with the pirate ship as the axis around which the play turns. It examines the movement of deterritorialization and mimesis in the constitution of sovereignty by the ceaseless transference of piracy and inter-imperial rivalries and passages. Interpreting Hamlet as (...) being not just a play of nothingness and nihilism, born of and residing in the interstice of disjointed historical time, this essay argues that Hamlet is a play that inherits and inhabits the cranny of fractured historical space from Elizabethan to Jacobean England when the English isle became what Carl Schmitt called the “agency of the spatial turn to a new nomos of the earth.” The old nomos of the earth, terra firma in the Greco-Roman and feudal senses, was challenged by the new freedom of the sea which demanded a separate and distinct global order. This essay poses the question whether the dramatic economy of Hamlet as split by and revolving around the physical presence and symbolic charges of the North Atlantic in fact constitutes the irrhythm and mis-punctuation of this spatial turn toward a maritime modernity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIMETIC SADISM IN THE FICTION OF YUKIO MISHIMA Jerry Piven New York University Mishima Yukio (1925-1970) was one ofthe mostenigmatic authors of the 20th century. Novelist, playwright, actor, exhibiionist —his novels are rife with homoerotic and violent imagery, while his fanatical and nihilistic philosophy calls for a return to a Samurai ethos. Mishima thus attained infamy in Japan and in the West, as his shocking novels inspired hordes ofyoung (...) Japanese into a cult ofMishima worship, while critics who acknowledge his genius are still nervous about his sadistic homosexuality and his suicide. Mishima's works are suffused with erotic bloodshed and misogyny, and Mishima finally ended his life by ritually disemboweling himself. I will make the case that Mishima was incessantly plagued by torturous mimetic frustrations, and that his final act of spilling his blood and intestines can be interpreted as the result of mimetic hatred against his rivals. I also argue that Mishima was fundamentally schizoidal; in Girardian terms, a man whose hypocrisy for the sakeofdesire rendered him an exhibitionistic maskdisguisingmimetic rage and fear. Having previously written about Mishima from a psychoanalytic perspective, I believe that a Girardian approach would often yield drastically different interpretations of identical biographical and literary materials. ' 1I initially wrote on Mishima for several diagnostic assignments at my psychoanalytic institute, the National Psychological Association for Psychoanalysis (NPAP). After considering the psychoanalytic and Girardian approaches, I expanded these original essays using identical material to determine whetherthe interpretations orconclusions would differ; I was struck by the way the same details could provide both remarkable congruences and vast divergences ofperspective. Read side by side, one can find compatible conclusions, but one also finds perceptions ofthe same details that would be difficultto conceive or articulate 70Jeremy Piven Mimesis, misogyny, and maculacy Kimitake Hiraoka was a frail, sickly child before he became the muscular and exhibitionistic novelist Yukio Mishima. His brutal and helpless childhood inaugurated his mimetic complexes: his need to escape the suffocating and diseased environment of his grandmother, his rivalry with her, and his mimetic ideal ofbeauty and muscular invulnerability. Mishima was an unhealthy youth, taken from the arms of his mother before he was two months old, and confined to the sickroom of his grandmother for the first twelve years ofhis life. Under the auspices ofhis tyrannical and ostensively psychotic grandmother, Mishima lived in the dark, could play only female friends (becausetheywere deemed harmless), and could eat only gentle foods. He thus lived an imprisoned life away from his parents, amid the excrescences of his sick and hysterical grandmother until adolescence, when his father "reclaimed him." Mishima later rebelled against this sickly nature, sculpting himself into a statuesque ideal of masculine beauty. He became obsessed with martial arts and the eroticism ofhis own engraved body. His fiction and philosophy were permeated by misogyny, glorification ofGrecian male sexuality and aesthetics, and the repudiation ofanything weak or feminine. He finally killed himselfbefore age could wither his masculine beauty. Mishima's fiction prominently features protagonists who mirror his sickly youth. The autobiographical Confessions of a Mask (Kamen no Kokuhaku) describes the homoerotic development ofthis frail child. Such fraiIcharacters inMishima'sfiction arealwaysdrawneroticallytobeautiful males as both mimetic rivals and models. The narrator of Confessions describes his sexual attraction to a sewage collector, a "ladler of excrement"(8). Thehandsomemanwith "ruddycheeks" and "shiningeyes" fascinates the narrator, and he is filled with desire lookingathistightjeans. using psychoanalytic perspectives andjargon. Two ofthe original essays will be published inthePsychoanalyticReview in comingmonths: "PhallicNarcissism, Anal Sadism, and Oral Discord: The Case ofYukio Mishima (part I)," and "Narcissistic Revenge and Suicide: The Case ofYukio Mishima (part H)." I am currently translating these articles for publication in Japan. I included a brief discussion of Mishima in the introduction to Psychological Undercurrents ofHistory (Piven and Lawton, eds.), to explore the complex methodological and psychological dynamics of the field of psychohistory. A commentary on Mishima's traumaticchildhood entitled "The Pathology ofGenius," will appearin aforthcomingedition ofTapestry: TheJournalofHistoricalMotivations andtheSocialFabric, and afinal article, "Voyeurism and Rage in The Sailor Who Fellfrom Grace with the Sea," will appear in Psychological Undercurrents ofHistory, Volume II (2002). Mimetic Sadism in the Fiction ofYukio Mishima71 The narrator thus emerges into a burgeoning homosexuality, but he also fantasizes about dying dramatically. His... (shrink)

Nussbaum attempts to undermine the sharp distinction between literature and philosophy by arguing that literary texts (tragic poetry particularly) distinctively appeal to emotion and imagination, that our emotional response itself is cognitive, and that Aristotle thought so too. I argue that emotional response is not cognitive but presupposes cognition. Aristotle argued that we learn from the mimesis of action delineated in the plot, not from our emotional response. The distinctions between emotional and intellectual writing, poetry and prose, literature and (...) philosophy, the imaginative and the unimaginative do not cut along the same lines. That between literature and philosophy is not hard and fast: philosophy can be dramatic (eg Plato's dialogues) and drama can be philosophical (eg some of Shakespeare's plays), but whether either is emotional or not, or written in poetry or prose, are other questions. (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)

A passage in Plato’s Laws (719c) 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 (with passages in Apology and Meno) 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 lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments THE FUTURE PRESENT TENSE by Justin Leiber Perhaps the simplest, most general, and oldest claim about fiction is that it should instruct and entertain. A logical positivist might draw a sharp line between the factual content of a discourse and the pleasurable emotional release available to the auditor. Aristotle straddles this distinction in seeing (dramatic) fiction as imitation of, principally, human action, an imitation which (...) is, Aristotle assures us in Poetics, both naturally pleasurable to perform or to observe performed. The distinction is straddled because for something to be an imitation of something else it must convey some body of rough fact about that thing; and granted various conventions of form and good form, the more accurate, compact, and revealing the imitation, the more the entertainment. Indeed, Aristotle also insists that drama is more universal than history, for the poet depicts what is necessary and probable in human action, while history depicts what is actual, though perhaps improbable, and the historian may not illume what is necessary, representative, exemplary, or prophetic in the mass of supposed actualities. There is a puzzle here in Aristotle's attitude. All humans by nature desire to know is the resolute thesis of the Metaphysics and he suggests there and elsewhere that this desire is a noble one and one whose fulfillment is an important form and ingredient of happiness. In Poetics it is quite clear that both the poet and the audience must have some of the sort of stuff that Aristotle considers fully genuine knowledge, explanatory knowledge, knowledge of universals, for otherwise they could not produce or understand the work as successful (or unsuccessful) imitation of the probable, 203 204Philosophy and Literature necessary, exemplary, etc., in human action. So in entertaining the work inevitably instructs. Aristotle does say that Homer gives in hexameters an imitation of human action, while Empedocles gives in hexameters physical philosophy. But what if Empedocles were providing us psychology? The example could be made more telling if we consider a twentieth-century psychoanalytic Empedocles who tracks or elucidates some generalizations of psychology through giving imagined, or partly imaged, case histories — how would such a work be psychology as opposed to fiction? Imitation (mimesis) wouldn't do thejob, for Aristotle mentions Socratic Dialogue as a form of it. To move to contemporary instances, what may we suppose is the difference between Plato's Republic and Robert Heinlein's Space Cadet? l In Space Cadet, we find some hundred years hence a modernized version of the Platonic Republic, with an elite outgrowth of the United Nations, the "Space Patrol," playing the role of the philosopher kings to the whole earth. Heinlein presents Plato's three-component theory of human psychology and of the meritocratic, tripartite, hierarchic structure of the most real, or healthy, state, and he argues and illustrates the basic Platonic thesis. Ethics is as much an objective science as mathematics, immorality is a form of ignorance (no one knowingly does wrong), and the general solution to the problem of statescraft is the creation of an educational system that will winnow, at level after level, and further educate an intellectual/ethical elite who will monopolize ultimate weaponry and political power, who will use the "divine lie" tojustify their authority, and who will act out of ethical knowledge, not for individual gain. Heinlein gives his account of these matters from the point of view of a Mathew Dobson, a Patrol candidate, who resembles a Candide who finds himself within a reasonable facsimile of the Just State, if not the Best of All Possible Worlds. One concedes that Plato provides us a substantially original, more detailed and coherently worked out set of speculations and theories, while Heinlein provides us a perhaps banal version of these ideas in a sentimental (perhaps fascistic) vision. Similarly, one eagerly concedes that Plato's Republic has played a potent role in European Civilization and the sweep of human thought, while Space Cadet has not. But, plainly, the distinction between a work of philosophy, or of physics, and a (dramatic) fiction or science fiction, cannot be this. One can have unoriginal, false, or impotent works of physics, psychology, or philosophy. So one cannot argue on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Pleasure of the PlayDeborah KnightThe Pleasure of the Play, by Bert O. States; 226 pp. Ithaca: Cornell University Press, 1994, $34.50, cloth, $12.95, paper.I am an Aristotelian about narrative structure. This is not always a fashionable position, and in some company I know just what to expect: a pop deconstructivist dressing down by those who assume that I must have simply missed the point of poststructuralism and (...) postmodernism. Surely, the nay-sayers claim, no one believes in beginnings, middles, and ends anymore—certainly not since Godard taught us that we don’t need to put them in that order. Isn’t it just obvious (they continue) that we must reject the ideology of wholeness and unity, and opt instead for fragmentation, or self-reflexivity, or other violations of Aristotelian form? And there is no mistaking that, in some quarters, notions like mimesis and catharsis haven’t received much good press lately.But there are still kindred Aristotelians, and Bert O. States is one. His The Pleasure of the Play takes the Poetics as its pivotal text and sets in motion around it a lively discussion of plays from, yes, Oedipus Rex to The Real Inspector Hound, stopping along the way to consider Shakespeare, Chekhov, Brecht, Handke (among others), before concluding with an essay on Samuel Beckett’s Catastrophe, a play dedicated to Václav Havel. States adopts an open rather than a closed view of what the Poetics has to say about tragedy, expanding the discussion well beyond tragedy itself, out toward drama and, indeed, comedy. But he is clearly unwilling to go as far as another group of Aristotelians, notably Paul Ricoeur, Alasdair MacIntyre, and Jerome Bruner, who treat narrative as a mode of actual lived existence. States’s objective is to show the continued vitality of the Poetics, especially in terms of what it can tell us about drama in cultural contexts much removed from the one which offered Aristotle his range of primary textual material. [End Page 272]To be clear, then, States doesn’t claim to be doing either Poetics “scholarship” or exegesis. Indeed, this book is not what one might typically think of as a philosophical examination of the Poetics. Anyone looking for such a thing would do well to consult the excellent but unmistakably philosophical Essays on Aristotle’s Poetics, edited by Amélie Oksenberg Rorty. States is doing something else here. Like Aristotle, he is showing how dramatic structures work.The book is engaging. It features wonderfully turned phrases, examples that immediately illuminate a point, and nicely interwoven references to a range of theorists and philosophers who only rarely are found in each other’s company, for example: Richard Boyd, Martin Heidegger, Douglas Hofstadter, Wolfgang Iser, Maurice Merleau-Ponty, Francis Sparshott, Tzvetan Todorov. Some of States’s more delightful examples might offend Aristotle purists. Hard cheese to them. Consider how States uses Roland Barthes’s analysis of the newspaper feature story, or fait divers, to illuminate the structure of the great dramatic plots. In States’s examples—GENERAL SACRIFICES DAUGHTER IN WEDDING CEREMONY (Iphigenia at Aulis) or WIFE FORCED INTO ADULTERY BY HUSBAND, MOTHER, PRIEST (Mandragola) or, to use Aristotle’s own example, MAN’S STATUE AVENGES HIS MURDER (pp. 67-68)—what each mock headline captures is the peculiar, often ironic, internal logic of drama. For States, this peculiar logic is characterized by events which are simultaneously improbable, unthinkable, unanticipatable, yet—given the unfolding course of actions—uncannily probable after all.Central to understanding this internal logic is the Aristotelian notion of peripety, the critical “divulging event” (p. 49) which turns out to be just the reverse of what one intended (as for example Oedipus killing his father and marrying his mother). Where Aristotle seems to treat peripety as a mere plot device, States considers it “a principle of plot development.” Thus, the status of peripety as a crucial dramatic plot device is “really a symptom” of its more basic function (p. 86). Peripety as a principle of plot development helps to show why it makes little sense to claim that what narratives imitate is “reality”—peripety is just what “open life” lacks (p... (shrink)

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 toward (...) [End Page 266] literature and poetry write works that are themselves mimetic? Why does he repeatedly resort to story telling to make a point? Why do some of his works fail to fit his own prescriptions of clarity and unity? Six of the eight essays in this collection propose exonerating answers to these and similarly troubling questions.In stimulating counterpoint to this massive rescue operation, John Gould (“Plato and Performance”) argues that Plato’s attack on the irrationality of Greek literature and poetry has irrational roots in Plato himself. The reality defined by literary art, Gould suggests, is one of contradiction and conflict; its “incorrigible plurality”—the “drunkenness” of things as they are—is something that “Plato, at least in the puritanical mood of the Republic and the Phaedo, would not have wished to feel” (p. 25).Gould bases his contentions largely on a negative assessment of Plato’s arguments in the Republic. For him, the poverty and fierceness of those arguments strongly suggest an existential agenda at work. Implicitly supportive of this position, Penelope Murray (“Inspiration and Mimesis in Plato”) shows that the picture Plato paints of poets in the grip of irrational frenzy, in the Republic and elsewhere, far from being the traditional truth he purports it to be, is his own creation. It is a “far cry,” she convincingly argues, from the images of the poet that we find in pre-Platonic literature” (p. 46).The most original defense of Plato is offered by Mary Margaret McCabe in “Myth, Allegory and Argument in Plato.” She proposes that logical arguments in Plato’s text stand in a dialectical relation to stories and allegories elsewhere in the text. Mere logic presents too lean a picture of reality, while myths and allegories present one that is, from an Ockhamite perspective, too rich. The responsibility for finding the right theoretical balance lies with the reader.Now were it true that Plato’s famous images have no genuine heuristic value in the contexts in which they are offered, then McCabe’s thesis might be in some trouble. Yet that is precisely the claim of Manuela Teçusan (“Speaking about the Unspeakable: Plato’s Use of Imagery”), who reassures readers that because Plato resorts to poetic devices primarily in order to illustrate conclusions that are independently supported, he is not really guilty of an inconsistency needing to be explained away.If Plato’s complaints against literature are typically understood as presupposing extravagant metaphysical theses of his own, one possibility is to show that he is not actually committed to those theses. Christopher Rowe (“Reflections of the Sun: Explanation in the Phaedo”) and Michael Stokes (“Plato and the Sightlovers of the Republic”) weigh in with carefully argued versions of that time-honored project. Rowe can discover no reference in the Phaedo to the unhypothesized Good of the Republic, while Stokes discerns no genuine Platonic commitment to a two-world theory in Republic 5.Finally, Richard Rutherford (“Unifying the Protagoras”) diagnoses that dialogue’s notorious lack of unity as reflecting the disorganized minds and unsocratically competitive impulses of its Sophist participants, and Martin [End Page 267] Warner (“Dialectical Drama: The Case of Plato’s Symposium”) proposes that, appearances to the contrary notwithstanding, all of the Symposium displays both substance and unity.Reading these well-researched, engaging essays, one may find oneself wishing that their authors would occasionally wonder aloud whether Plato had any choice but to express himself through the poetic/dramatic medium which he criticizes. Perhaps he could have invented the straightforward philosophical prose style, but perhaps he was too busy building its conceptual and cultural foundations.A. Serge KapplerSkidmore CollegeCopyright © 1996 The Johns Hopkins University Press... (shrink)

In the article, we offer a model for actualization of the dialogue between the representatives of dramatic art and philosophy in Ancient Greece, having compared the notion of wisdom in Aristophanes and in Plato. In addition to his literary virtues, Aristophanes can be perceived as a philosopher of education. Extrapolation of these results on the modern situation opens prospective of dialogical ways of interactions between the representatives of different spheres of cultural life. Values on which such representatives are based (...) can differ, but the common idea to guide the analysis remains true regardless of these differences in their viewpoints: our opponents could well proceed from opposite philosophical principles but their position cannot be treated as necessarily mistaken. It demands efforts of all the participants of the dialogue, and ancient thought seems to offer general opportunities for this, which serves as a good example of the enduring value of the ancient ideals in the history of human culture. (shrink)

For many years scholars have paid lip service to the "dramatic" or "mimetic" character of Plato's dialogues, but too few have taken this character seriously. Klein does, making it the basis of his exposition. He convincingly demonstrates that the dramatic action and the topic discussed are tightly interwoven and must be taken together to understand the Meno. In his introduction he distinguishes three kinds of mimesis: ethological, doxological, and mythological. The Meno is interpreted as primarily ethological. But (...) one can ask whether the author has done justice to the doxological element in the dialogue. He places considerable emphasis on the character of the "historical" Meno and does not seem to consider seriously the possibility that Meno's responses to Socrates show that he is learning something about the nature of ἀρετή. To suggest a possible criticism is in no way to take issue with the major thesis of this thorough and imaginative study.—R. J. W. (shrink)

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 mimetic theory. The (...) world as a totality, its origin, the gods in the heavens, the shades and shadows of Hades, the tragic Destiny of the dramatist, and their interplay: these are crucial to the Greek experience of reality as voiced by the poet, but for none of them is there any possible model in the visible world, natural or craft-produced.23 Consequently these can never be imitated, and thus too the traditional vocation of the poet as the namer of the holy is precisely what gets eliminated in the last book of the Republic, and in Aristotle's refurbishment of mimēsis.Plato takes poetry seriously both for the polis and in the polis because it poses a serious danger. Poetry threatens “the safety of the city which is within us” (Rep. 608). Yet with Hölderlin he could agree that “Where there is danger there also lies salvation,” and so recognize the veridicousness of poetry, its truth-bearing power. At the basis of every life-form, every political order, there lies a poetic projection. The work of philosophical criticism and dissent can therefore not but enter into the quarrel with poetry. For Aristotle on the other hand, poetry, its meaning transvaluated, has been removed from the precinct of conflict. To put the point dramatically: one could never imagine Aristotle expelling the poets from any state, real or ideal. That would be a category-mistake since the worst that poetry can do is to turn into a catharsis interruptus.Although we have no unmediated experience of Being, the theory of inspiration points in such a direction. Yet even for the poet, it must be stressed, poetic inspiration must not be torn from the process of its self-realizing production or technē. Nor is the Heraclean metaphor fully adequate to critical interpretation, for it emphasizes sensitive conformance to the word at the expense of the distance required for proper engagement. The missing dimension is hinted at in the interrogative approach of Socrates, in his concern for the discovery and preservation of truth. Poetic inspiration, but also poetic interpretation, will not be poetic unless it is, as Heidegger says, a coming-to-work, whether that means a work of art or work of thought. Poetic inspiration must be an eventuation of truth in the work; as distinguished from mystical inspiration, it seeks embodiment and mediation. In other terms, for there to be an artwork both the vertical dimension and the horizontal dimension of craft must intersect. The eventuation of truth in the work must be fitting, due and opportune; the intersection must have its proper measure (summetria, Phil. 643). This alone constitutes the genuine necessity of the work, and only when this character prevails can the eventuation of truth take place. (shrink)

Mimesis is a fundamental and pervasive human concept, but has attracted little attention from Johannine scholarship. This is unsurprising, since Johannine ethics, of which mimesis is a part, has only recently become a fruitful area of research. Bennema contends that scholars have not yet identified the centre of Johannine ethics, admittedly due to the fact that mimesis is not immediately evident in the Johannine text because the usual terminology for mimesis is missing. This volume is the (...) first organized study on the concept of mimesis in the Johannine literature. The aim of the study is to establish that mimesis is a genuine Johannine concept, to explain its particulars and to show that mimesis is integral to Johannine ethics. Bennema argues that Johannine mimesis is a cognitive, creative process that shapes the believer's identity and behaviour within the context of the divine family. Besides being instrumental in people's moral transformation, mimesis is also a vital mechanism for mediating the divine reality to people. (shrink)

Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.

This book challenges the widespread view of Kierkegaard’s idiosyncratic and predominantly religious position on mimesis. -/- Taking mimesis as a crucial conceptual point of reference in reading Kierkegaard, this book offers a nuanced understanding of the relation between aesthetics and religion in his thought. Kaftanski shows how Kierkegaard's dialectical-existential reading of mimesis interlaces aesthetic and religious themes, including the familiar core concepts of imitation, repetition, and admiration as well as the newly arisen notions of affectivity, contagion, and (...) crowd behavior. Kierkegaard’s enduring relevance to the malaises of our own day is firmly established by his classic concern for the meaning of human life informed by reflective meditation on the mimeticorigins of the contemporary age.​ -/- Kierkegaard, Mimesis, and Modernity will be of interest to scholars and advanced students working on Kierkegaard, Continental philosophy, the history of aesthetics, and critical and religious studies. (shrink)

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 (...) of mirrors, R. B. Kitaj and Jewish identity, Anselm Kiefer and iconoclasm. Apart from painting, Benjamin considers architecture, literature, and the philosophical writings of Walter Benjamin and Descartes in elaborating the various aspects of ontological difference. Benjamin develops the theory of the avant-garde as a philosophical category rather than a historical marker, thus bringing the worlds of contemporary art criticism and contemporary philosophy closer together. (shrink)

ResumenEl trabajo investiga la relación entre las nociones de «imagen dialéctica» [dialektisches Bild] y de recuerdo [Erinnerung] en la obra tardía de Walter Benjamin. Parte de la hipótesis de que, para comprender dicho vínculo, es necesario recurrir a la categoría de «mímesis» como mediación entre ellas. El abordaje de la mímesis busca recuperar su íntima relación con lo figurativo y la experiencia sensible, relegada frente al énfasis que los estudios sobre el tema han puesto en la filosofía del lenguaje. Con (...) este objetivo, se indaga el diálogo velado de Benjamin con la tradición warburguiana, cuyo tema central es la imagen.Palabras claveBenjamin, Warburg, imagen dialéctica, recuerdo, mímesisAbstractIn this paper we research the connection between the concepts of «dialectical image» and «memory» in Walter Benjamin’s late work. We start from the hypothesis that, in order to understand this relationship, it is necessary to turn to the notion of «mimesis» as a link betweenthem. We draw attention to the intimate connection of mimesis with the figurative and sensible experience, generally left out by the studies that emphasize its relationship with the philosophy of language. To reach our aim we investigate the veiled dialogue between Benjamin and the Warburgian tradition, whose main topic is the image.KeywordsBenjamin, Warburg, dialectical image, memory, m. (shrink)

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, Molière, 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. (shrink)

Introduction -- Media and representation. On the one medium / Eric Gans -- The scapegoat mechanism and the media: beyond the folk devil paradigm / John O'Carroll -- The apocalypse will not be televised / Chris Fleming -- Film. Mirrors of nature: artificial agents in real life and virtual worlds / Paul Dumouchel -- Superheroes, scapegoats, and saviors: the problem of evil and the need for redemption / Joel Hodge -- Sanctified victimage on page and screen: The hunger games as (...) prophetic media / Debra E. Macdonald -- The mimetic e-motion: from The matrix to Avatar / Nidesh Lawtoo -- Apocalypse of the therapeutic: The cabin in the woods and the death of mimetic desire / Peter Y. Paik -- Eyes wide shut: mimesis and historical memory in Stanley Kubrick's The shining / David Humbert -- Against romantic love: mimeticism and satire in Woody Allen's Vicky, Cristina, Barcelona; you will meet a tall dark stranger; and To Rome with love / Scott Cowdell -- A beautiful crisis: Ang Lee's film adaptation of The ice storm / Carly Osborn -- Cowboy metaphysics, the virtuous-enough cowboy, and mimetic desire in Stephen Fears' The hi-lo country / Thomas Ryba -- Television. The self in crisis: watching Mad men and Homeland with Girard and Hegel / Paolo Diego Bubbio -- Media, murder, and memoir: Girardian baroque in Robert Drewe's The shark net / Rosamund Dalziell -- Conversion in Dexter / Matthew John Paul Tan and Joel Hodge. (shrink)

The reflection elaborated in these pages, fleeing all submission to the now abused rhetoric of the prevailing economism, traces in the works of René Girard - the most serious pretender to the legacy of the masters of suspicion - and Jacques Derrida - the last great philosopher of the twentieth century - the constituent elements of a critical paradigm with which to interpret the present time. The volume investigates the multiple correspondences between the different legacies of deconstruction and the most (...) recent developments of mimetic theory through the articulated reconstruction of the reflections, still little known in Italy, of some of the most brilliant contemporary exponents of those traditions. Formulating the features of an ontology of actuality hinged on the notions of mimesis and trace, the author proposes a philosophical diagnosis that recognizes in our time an age in the grip of panic. (shrink)

The article is proposed as a reading of A Feminist Theory of Refusal (2021), by Bonnie Honig. Under the assumption that Honig has the merit of introducing into feminist political theory a thought of rejection patiently elaborated from a commentary on literary figures such as Antigone and Bartleby, the article interrogates the logic of resistance that these figurations of negativity advance. From the perspective of A Feminist Theory of Refusal, the names of Antigone and Bartleby are not only subjective indications (...) of the interruption of a domain, but above all they are agonistic figurations of a politics that has the dispute of meaning as one of its main axes. In other words, the politics of rejection that Honig proposes is at the same time an agonal politics that is organized around the meaning of words, of the narratives that structure the commonality of a social order. Following this line of reading, the essay sets out to interrogate the politics of rejection elaborated by Honig from the figurations that embody it. (shrink)

African traditional societies are oral societies. Orality, in these societies, is the effect as much as the cause of the particular mode of social being of the African man. An African man is socially configured by orality. It is therefore a cultural formatting whose main issue is preservation and transmission, from age to age, of traditions, social norms and practices that determine the relationship of man of orality with the world. Moreover, according to Diagne, the process by which this cultural (...) formatting, specific to traditional African societies is carried out, is the “dramatization”. Dramatization is the ruse of oral reason. The aim of this paper is to grasp, through the process of dramatization, cultural particularities of argumentation in traditional African societies. In order to do so, the analysis focuses on the discursive practices through which dramatization is revealed. More precisely, the study of proverbs in eʋe society allows pointing out the specificities of dramatized argumentation in an oral society. The epistemological issue animating this paper is to present a different way of grasping argumentative functions of image and metaphor. (shrink)

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?

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 (...) elicitative power. (shrink)

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, Molière, 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. (shrink)