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Mimesis (/ m ɪ ˈ m iː s ɪ s, m aɪ-/; [1] Ancient Greek: μίμησις, mīmēsis) is a term used in literary criticism and philosophy that carries a wide range of meanings, including imitatio, imitation, nonsensuous [clarification needed] similarity, receptivity, representation, mimicry, the act of expression, the act of resembling, and the presentation of the self.
Mimesis criticism is a method of interpreting texts in relation to their literary or cultural models. Mimesis, or imitation ( imitatio ), was a widely used rhetorical tool in antiquity up until the 18th century's romantic emphasis on originality.
"Man is the creature who does not know what to desire, and he turns to others in order to make up his mind. We desire what others desire because we imitate their desires." [2] Mimetic theory has two main parts - the desire itself, and the resulting scapegoating. Girard's idea proposes that all desire is merely an imitation of another's desire ...
Mimesis gives an account of the way in which everyday life in its seriousness has been represented by many Western writers, from ancient Greek and Roman writers such as Petronius and Tacitus, early Christian writers such as Augustine, Medieval writers such as Chretien de Troyes, Dante, and Boccaccio, Renaissance writers such as Montaigne, Rabelais, Shakespeare and Cervantes, seventeenth ...
Erich Auerbach (9 November 1892 – 13 October 1957) was a German philologist and comparative scholar and critic of literature.His best-known work is Mimesis: The Representation of Reality in Western Literature, a history of representation in Western literature from ancient to modern times frequently cited as a classic in the study of realism in literature. [1]
The phrase may be considered synonymous with anti-mimesis, the direct opposite of Aristotelian mimesis: art imitating real life. The idea's most notable proponent is Oscar Wilde , who opined in an 1889 essay that, "Life imitates Art far more than Art imitates Life".
[55] Rebecca Adams argued that because Girard's theories fixated on violence, he was creating a "scapegoat" himself with his own theory: the scapegoat of positive mimesis. Adams proposed a reassessment of Girard's theory that includes an account of loving mimesis or, as she preferred to call it, creative mimesis. [56]
Verisimilitude has its roots in both the Platonic and Aristotelian dramatic theory of mimesis, the imitation or representation of nature.For a piece of art to hold significance or persuasion for an audience, according to Plato and Aristotle, it must have grounding in reality.