1486:"classical narrative is always oriented towards an explicit there and then, towards an imaginary 'elsewhere' set in the past and which has to be evoked for the reader through predication and description. Dramatic worlds, on the other hand, are presented to the spectator as 'hypothetically actual' constructs, since they are 'seen' in progress 'here and now' without narratorial mediation. This is not merely a technical distinction but constitutes, rather, one of the cardinal principles of a poetics of the drama as opposed to one of narrative fiction. The distinction is, indeed, implicit in Aristotle's differentiation of representational modes, namely
377:). As Plato has it, truth is the concern of the philosopher. As culture in those days did not consist in the solitary reading of books, but in the listening to performances, the recitals of orators (and poets), or the acting out by classical actors of tragedy, Plato maintained in his critique that theatre was not sufficient in conveying the truth. He was concerned that actors or orators were thus able to persuade an audience by rhetoric rather than by telling the truth.
600:, mimesis is sometimes used to refer to the self-consistency of a represented world, and the availability of in-game rationalisations for elements of the gameplay. In this context, mimesis has an associated grade: highly self-consistent worlds that provide explanations for their puzzles and game mechanics are said to display a higher degree of mimesis. This usage can be traced back to the essay "Crimes Against Mimesis".
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448:. However, it is equally important that the text causes the audience to identify with the characters and the events in the text, and unless this identification occurs, it does not touch us as an audience. Aristotle holds that it is through "simulated representation," mimesis, that we respond to the acting on the stage, which is conveying to us what the characters feel, so that we may
561:. When reporting or narrating, "the poet is speaking in his own person; he never leads us to suppose that he is anyone else;" when imitating, the poet produces an "assimilation of himself to another, either by the use of voice or gesture." In dramatic texts, the poet never speaks directly; in narrative texts, the poet speaks as himself or herself.
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or describe a carpenter, or any other maker of things, know nothing of the carpenter's (the craftsman's) art, and though the better painters or poets they are, the more faithfully their works of art will resemble the reality of the carpenter making a bed, the imitators will nonetheless still not attain the truth (of God's creation).
946:(2022) Swiss philosopher and critic Nidesh Lawtoo develops a relational theory of mimetic subjectivity arguing that not only desires but all affects are mimetic, for good and ill. Lawtoo opens up the transdisciplinary field of "mimetic studies" to account for the proliferation of hypermimetic affects in the digital age.
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to understand the nature of mimesis as an innate human trait or a violent aversion to the same, tends to be a diagnostic symptom of the totalitarian or fascist character if it is not, in fact, the original unspoken occult impulse that animated the production of totalitarian or fascist movements to begin with.
420:, is like a blueprint, or an immortal idea. The second cause is the material cause, or what a thing is made out of. The third cause is the efficient cause, that is, the process and the agent by which the thing is made. The fourth, the final cause, is the good, or the purpose and end of a thing, known as
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And narration may be either simple narration, or imitation, or a union of the two? / / And this assimilation of himself to another, either by the use of voice or gesture, is the imitation of the person whose character he assumes? / Of course. / Then in this case the narrative of the poet may be said
519:
by a narrator; the author narrates action indirectly and describes what is in the characters' minds and emotions. The narrator may speak as a particular character or may be the "invisible narrator" or even the "all-knowing narrator" who speaks from above in the form of commenting on the action or the
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amongst the Nazi elite. Insofar as this issue or this purpose was ever even explicitly discussed in print by Hitler's inner-circle, in other words, this was the justification (appearing in the essay "Mimickry" in a war-time book published by Joseph
Goebbels). The text suggests that a radical failure
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At first glance, mimesis seems to be a stylizing of reality in which the ordinary features of our world are brought into focus by a certain exaggeration, the relationship of the imitation to the object it imitates being something like the relationship of dancing to walking. Imitation always involves
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is an informed and scholarly speculative cosmology depicting the possible origins and early prehistoric cultural evolution of the human mimetic faculty. In particular, the books first and fifth chapters ("In The Time of the Great Raven" and "Sages & Predators") focuses on the terrain of mimesis
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posits that human behavior is based upon mimesis, and that imitation can engender pointless conflict. Girard notes the productive potential of competition: "It is because of this unprecedented capacity to promote competition within limits that always remain socially, if not individually, acceptable
398:
So the artist's bed is twice removed from the truth. Those who copy only touch on a small part of things as they really are, where a bed may appear differently from various points of view, looked at obliquely or directly, or differently again in a mirror. So painters or poets, though they may paint
456:
In short, catharsis can be achieved only if we see something that is both recognisable and distant. Aristotle argued that literature is more interesting as a means of learning than history, because history deals with specific facts that have happened, and which are contingent, whereas literature,
411:
Similar to Plato's writings about mimesis, Aristotle also defined mimesis as the perfection and imitation of nature. Art is not only imitation but also the use of mathematical ideas and symmetry in the search for the perfect, the timeless, and contrasting being with becoming. Nature is full of
590:(section I); "For the medium being the same, and the objects the same, the poet may imitate by narration—in which case he can either take another personality, as Homer does, or speak in his own person, unchanged—or he may present all his characters as living and moving before us."
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as being a sort of original sin attributable to "the Jew." Thus, an objection to the tendency of human beings to mimic one another instead of "just being themselves" and a complementary, fantasized desire to achieve a return to an eternally static pattern of predation by means of
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that we have all the amazing achievements of the modern world," but states that competition stifles progress once it becomes an end in itself: "rivals are more apt to forget about whatever objects are the cause of the rivalry and instead become more fascinated with one another."
402:
The poets, beginning with Homer, far from improving and educating humanity, do not possess the knowledge of craftsmen and are mere imitators who copy again and again images of virtue and rhapsodise about them, but never reach the truth in the way the superior philosophers do.
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and the way it appears in the Bible. From these two seminal texts
Auerbach builds the foundation for a unified theory of representation that spans the entire history of Western literature, including the Modernist novels being written at the time Auerbach began his study.
443:
Aristotle considered it important that there be a certain distance between the work of art on the one hand and life on the other; we draw knowledge and consolation from tragedies only because they do not happen to us. Without this distance, tragedy could not give rise to
694:'s notion that poetry should duplicate nature by capturing actual speech. Coleridge instead argues that the unity of essence is revealed precisely through different materialities and media. Imitation, therefore, reveals the sameness of processes in nature.
681:, adopting their concept of imitation of nature instead of other writers. His departure from the earlier thinkers lies in his arguing that art does not reveal a unity of essence through its ability to achieve sameness with nature. Coleridge claims:
388:' dialogue with his pupils. Socrates warns we should not seriously regard poetry as being capable of attaining the truth and that we who listen to poetry should be on our guard against its seductions, since the poet has no place in our idea of God.
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he composition of a poem is among the imitative arts; and that imitation, as opposed to copying, consists either in the interfusion of the SAME throughout the radically DIFFERENT, or the different throughout a base radically the
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Snow, Kim, Hugh
Crethar, Patricia Robey, and John Carlson. 2005. "Theories of Family Therapy (Part 1)." As cited in "Family Therapy Review: Preparing for Comprehensive Licensing Examination." 2005. Lawrence Erlbaum Associates.
816:
Taussig, however, criticises anthropology for reducing yet another culture, that of the Guna, for having been so impressed by the exotic technologies of the whites that they raised them to the status of gods. To
Taussig this
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arising from an interpretation of human birth that assumes its correspondence with the apparition of a seasonally rising constellation augurs that new life will take on aspects of the myth connected to the star.
439:
is his treatise on the subject of mimesis. Aristotle was not against literature as such; he stated that human beings are mimetic beings, feeling the urge to create texts (art) that reflect and represent reality.
913:. Calasso insinuates and references this lineage throughout the text. The work can be read as a clarification of their earlier gestures in this direction, written while the Holocaust was still unfolding.
879:" expressed as systematic mass-murder became the metaphysical argument (underlying circumstantial, temporally contingent arguments deployed opportunistically for propaganda purposes) for perpetrating the
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with them in this way through the mimetic form of dramatic roleplay. It is the task of the dramatist to produce the tragic enactment to accomplish this empathy by means of what is taking place on stage.
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in the 4th century BC, which was only concerned with "imitation of nature" rather than the "imitation of other authors." Latin orators and rhetoricians adopted the literary method of
Dionysius'
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to proceed by way of imitation? / Very true. / Or, if the poet everywhere appears and never conceals himself, then again, the imitation is dropped, and his poetry becomes simple narration.
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Prang, Christoph. 2010. "Semiomimesis: The influence of semiotics on the creation of literary texts. Peter
Bichsel's Ein Tisch ist ein Tisch and Joseph Roth's Hotel Savoy."
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examines the way that people from one culture adopt another's nature and culture (the process of mimesis) at the same time as distancing themselves from it (the process of
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involves a framing of reality that announces that what is contained within the frame is not simply real. Thus the more "real" the imitation the more fraudulent it becomes.
367:, he states that poetry is the art of divine madness, or inspiration. Because the poet is subject to this divine madness, instead of possessing "art" or "knowledge" (
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1226:"'The Shifting Problems of Mimesis in Plato' [Author's MS] in J. Pfefferkorn & A. Spinelli (eds.) Platonic Mimesis Revisited (Academia Verlag, 2021)"
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322:, and Nidesh Lawtoo. During the nineteenth century, the racial politics of imitation towards African Americans influenced the term mimesis and its evolution.
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813:), have adopted in various representations figures and images reminiscent of the white people they encountered in the past (without acknowledging doing so).
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change, decay, and cycles, but art can also search for what is everlasting and the first causes of natural phenomena. Aristotle wrote about the idea of
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used the term to describe a form of resistance where women imperfectly imitate stereotypes about themselves to expose and undermine such stereotypes.
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was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty,
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circumstances than before. He posited the characters in tragedy as being better than the average human being, and those of comedy as being worse.
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You are aware, I suppose, that all mythology and poetry is a narration of events, either past, present, or to come? / Certainly, he replied.
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Though they conceive of mimesis in quite different ways, its relation with diegesis is identical in Plato's and
Aristotle's formulations.
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395:, or form); one is made by the carpenter, in imitation of God's idea; and one is made by the artist in imitation of the carpenter's.
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Developing upon this in Book X, Plato told of
Socrates's metaphor of the three beds: One bed exists as an idea made by God (the
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selecting something from the continuum of experience, thus giving boundaries to what really has no beginning or end.
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Tsitsiridis, Stavros. 2005. "Mimesis and
Understanding. An Interpretation of Aristotle's 'Poetics' 4.1448b4–19."
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although sometimes based on history, deals with events that could have taken place or ought to have taken place.
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Calasso's argument here echoes, condenses and introduces new evidence to reinforce one of the major themes of
545:): all types narrate events, he argues, but by differing means. He distinguishes between narration or report (
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2372:, Laboratory of Pedagogy of Expression of the Department of Educational Design of the university "Roma Tre"
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and its early origins, though insights in this territory appear as a motif in every chapter of the book.
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2203:, translated by J. Halliday, European Studies in English Literature series. Cambridige: Cambridge UP.
351:, including human nature, as reflected in the dramas of the period. Plato wrote about mimesis in both
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In addition to Plato and
Auerbach, mimesis has been theorised by thinkers as diverse as
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vol. 1, edited by J. Engell and W. J. Bate. Princeton, NJ: Princeton University Press.
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One of the best-known modern studies of mimesis—understood in literature as a form of
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One of the best-known modern studies of mimesis—understood in literature as a form of
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511:, by means of directly represented action that is enacted. Diegesis, however, is the
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633:: emulating, adapting, reworking, and enriching a source text by an earlier author.
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Wilson, Kirt (2003). "The Racial Politics of Imitation in the Nineteenth Century".
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677:. Coleridge begins his thoughts on imitation and poetry from Plato, Aristotle, and
570:, Aristotle argues that kinds of poetry (the term includes drama, flute music, and
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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is often referred to as the counterpart to this Platonic conception of poetry.
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The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image
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553:). Tragedy and comedy, he goes on to explain, are wholly imitative types; the
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music for Aristotle) may be differentiated in three ways: according to their
373:) of the subject, the poet does not speak truth (as characterized by Plato's
237:, which opens with a comparison between the way the world is represented in
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2010:, vol. 1, edited by J. Engell and W. J. Bate. Princeton, NJ: Princeton UP.
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1895:"The Celestial Hunter by Roberto Calasso review – the sacrificial society"
1825:
1492:(narrative description) versus mimesis (direct imitation)." (pp. 110–111).
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which was itself in dialog with earlier work hinting in this direction by
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This is a reformatted version of a set of articles originally posted to
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Plato's recounting of the "bedness" theory involved in the bed metaphor
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Aristotle thought of drama as being "an imitation of an action" and of
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243:
136:
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1865:. Hannah Arendt. New York: Schocken Books. pp. 141–147, 217–265.
690:
Here, Coleridge opposes imitation to copying, the latter referring to
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Dionysius' concept marked a significant departure from the concept of
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1362:. Theodor W. Adorno, Gunzelin Schmid Noerr. Stanford, California.
717:
530:
336:
238:
209:
191:
187:
2090:
Mimesis and Theory: Essays on Literature and Criticism, 1953–2005
1969:
475:
Michael Davis, a translator and commentator of Aristotle writes:
6173:
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2074:, translated by D. Reneau. Berkeley, CA: U of California Press.
571:
117:
and philosophy that carries a wide range of meanings, including
6293:
5975:
5679:
4689:
3382:
2406:
870:—though it is a universal human ability—was interpreted by the
2996:
2240:
Aesthetic Enjoyment: Its Background in Philosophy and Medicine
2157:
The Phantom of the Ego: Modernism and the Mimetic Unconscious.
1681:
Reflections : essays, aphorisms, autobiographical writing
1408:
Mimesis and alterity : a particular history of the senses
75:
2402:
2391:, 2021, an article by María Antonia González Valerio for the
3378:
2353:
2105:
The Aesthetics of Mimesis. Ancient Texts and Modern Problems
1989:
Mimesis: The Representation of Reality in Western Literature
1684:. Peter Demetz. New York: Schocken Books. pp. 333–335.
1654:
Mimesis: The Representation of Reality in Western Literature
1265:
Mimesis: The Representation of Reality in Western Literature
713:
Mimesis: The Representation of Reality in Western Literature
234:
Mimesis: The Representation of Reality in Western Literature
2358:(Research on Poetics & Rhetorics in Catalan Literature)
2092:, edited by R. Doran. Stanford: Stanford University Press.
93:
1359:
Dialectic of enlightenment : philosophical fragments
468:" and so being removed to a less ideal situation in more
81:
66:
2298:
Mimesis and Alterity: A Particular History of the Senses
629:
in the 1st century BC, who conceived it as technique of
533:
examines the style of poetry (the term includes comedy,
557:
is wholly narrative; and their combination is found in
821:
is suspect, and he argues this from both sides in his
3213:
The Work of Art in the Age of Mechanical Reproduction
2349:
The University of Chicago, Theories of Media Keywords
84:
78:
866:
outlines the way that mimesis, called "Mimickry" by
7214:
7154:
7083:
7063:
7012:
6935:
6928:
6831:
6815:
6767:
6746:
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5897:
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5713:
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5298:
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5147:
5138:
5093:
5010:
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4925:
4879:
4731:
4724:
4538:
4510:
4445:
4189:
4080:
3978:
3883:
3818:
3741:
3553:
3416:
3265:
3114:
2887:
2594:
2506:
2440:
2187:
Mimesis and Reason: Habermas's Political Philosophy
1483:
See also, Pfister (1977, pp. 2–3); and Elam (1980):
1321:Benjamin, Walter (1970). "On the Mimetic Faculty".
165:
155:
90:
72:
69:
63:
6807:On Youth, Old Age, Life and Death, and Respiration
1926:. Richard Dixon. New York. pp. 3–28, 97–156.
30:"Mimetic" redirects here. Not to be confused with
1738:. Stanford University Press. pp. 7, 26, 307.
2023:The Poetry of Philosophy: On Aristotle's Poetics
1736:Things Hidden Since the Foundation of the World
1484:
1111:
840:Things Hidden Since the Foundation of the World
683:
493:It was also Plato and Aristotle who contrasted
477:
2276:A History of Six Ideas: An Essay in Aesthetics
6305:
5987:
5691:
5011:Cinema / television / video
4701:
3394:
2418:
2333:Plato's Republic III, transl. Benjamin Jowett
1755:. Richard Dixon. New York. pp. 137–139.
8:
5545:Palimpsests: Literature in the Second Degree
3143:The Literary Mind and the Carving of Dragons
2328:Plato's Republic II, transl. Benjamin Jowett
2070:Gebauer, Gunter, and Christoph Wulf. 1995.
1602:
1600:
1598:
2338:Plato's Republic X, transl. Benjamin Jowett
797:). He describes how a legendary tribe, the
625:of imitation as formulated by Greek author
7151:
7080:
7060:
7009:
6932:
6574:
6312:
6298:
6290:
5994:
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5698:
5684:
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4931:
4728:
4708:
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3401:
3387:
3379:
2425:
2411:
2403:
2138:Typography: Mimesis, Philosophy, Politics,
1954:: CS1 maint: location missing publisher (
1783:: CS1 maint: location missing publisher (
1390:: CS1 maint: location missing publisher (
2172:Homo Mimeticus: A New Theory of Imitation
1657:. Princeton: Princeton University Press.
1488:
1268:. Princeton: Princeton University Press.
909:who died during an attempt to escape the
743:outlines connections between mimesis and
669:, the concept of mimesis was crucial for
216:eventually shifted toward a specifically
2393:Online Encyclopedia Philosophy of Nature
1292:. D. W. Lucas. Oxford: Clarendon Press.
2040:, New Accents series. London: Methuen.
1183:
998:
4072:Types of fiction with multiple endings
1947:
1776:
1578:Giner-Sorolla, Roger (29 April 2006).
1562:Giner-Sorolla, Roger (25 April 2006).
1546:Giner-Sorolla, Roger (18 April 2006).
1530:Giner-Sorolla, Roger (11 April 2006).
1383:
1242:
1231:
1673:
1671:
1071:
1069:
1067:
464:as "falling from a higher to a lower
247:and the way it appears in the Bible.
7:
7320:Concepts in ancient Greek aesthetics
6861:On Melissus, Xenophanes, and Gorgias
6003:Ancient Greek philosophical concepts
2025:. South Bend, IN: St Augustine's P.
170:, 'to imitate'), itself coming from
2242:. Calcutta: University of Calcutta.
1504:Giner-Sorolla, Roger (April 2006).
549:) and imitation or representation (
220:function in ancient Greek society.
27:Communication by means of imitation
7222:Transmission of the Greek Classics
2038:The Semiotics of Theatre and Drama
25:
6896:The Situations and Names of Winds
4475:Third-person omniscient narrative
2159:East Lansing: Michigan State UP.
2136:Lacoue-Labarthe, Philippe. 1989.
747:, imagining a possible origin of
143:, the act of resembling, and the
7282:
7272:
7271:
3361:
2249:. Calcutta: Syamaprasad College.
2201:The Theory and Analysis of Drama
1580:"Crimes Against Mimesis, Part 4"
1564:"Crimes Against Mimesis, Part 3"
1548:"Crimes Against Mimesis, Part 2"
1532:"Crimes Against Mimesis, Part 1"
1193:Longman Pronunciation Dictionary
363:(Books II, III, and X). In
150:The original Ancient Greek term
59:
6802:On Length and Shortness of Life
2282:. The Hague: Martinus Nijhoff.
6452:
6392:Correspondence theory of truth
3863:Conflict between good and evil
2384:Dictionary of History of Ideas
1830:. Verso. pp. 9–20 et al.
898:Dialectic of the Enlightenment
1:
6738:Constitution of the Athenians
5474:Pierre Menard, Author of the
5320:Archetypal literary criticism
4880:Literature / theatre
2343:The Infinite Regress of Forms
2052:Esposito, Mariangela (2023).
926:written immediately prior to
6640:On Generation and Corruption
5286:Source criticism in the arts
4954:Readymades of Marcel Duchamp
3273:Aestheticization of politics
2185:Miller, Gregg Daniel. 2011.
2072:Mimesis: Culture—Art—Society
1624:Coleridge, Samuel T. 1983.
1405:Taussig, Michael T. (1993).
5951:Articulation (sociological)
5487:Reality Hunger: A Manifesto
2125:. Princeton: Princeton UP.
1992:. Princeton: Princeton UP.
1442:Quarterly Journal of Speech
1214:Gebauer and Wulf (1992, 1).
503:(Greek: διήγησις). Mimesis
7386:
6881:On Marvellous Things Heard
6500:Potentiality and actuality
5593:Appropriation in sociology
2189:. Albany, NY: SUNY Press.
2103:Halliwell, Stephen. 2002.
1827:Dialectic of Enlightenment
1606:Ruthven (1979) pp. 103–104
771:
648:and discarded Aristotle's
627:Dionysius of Halicarnassus
610:
416:in nature. The first, the
166:
156:
127:, nonsensuous similarity,
106:
44:
29:
7267:
7244:Commentaries on Aristotle
6009:
5598:Articulation in sociology
5121:Revivalism (architecture)
4934:
4502:Stream of unconsciousness
4033:Falling action/Catastasis
3341:
2214:Potolsky, Matthew. 2006.
2199:Pfister, Manfred. 1988.
2144:. Cambridge: Harvard UP.
2056:. Leiden; Boston: Brill.
1920:Calasso, Roberto (2020).
1859:Benjamin, Walter (1968).
1798:Goebbels, Joseph (1941).
1749:Calasso, Roberto (2019).
1724:Taussig, 1993, pp. 47–48.
1678:Benjamin, Walter (1986).
1195:(3rd ed.), Longman,
778:Appropriation (sociology)
582:, and according to their
178:, 'imitator, actor'). In
5310:Aesthetic interpretation
3870:Self-fulfilling prophecy
2368:23 February 2020 at the
2354:University of Barcelona
1824:Adorno, Theodor (1944).
1506:"Crimes Against Mimesis"
1356:Horkheimer, Max (2002).
523:In Book III of his
304:Philippe Lacoue-Labarthe
145:presentation of the self
47:Mimesis (disambiguation)
6612:Sophistical Refutations
5552:The Pictures Generation
5331:The Death of the Author
4497:Stream of consciousness
3960:Suspension of disbelief
3293:Evolutionary aesthetics
3243:The Aesthetic Dimension
2272:Tatarkiewicz, Władysław
1411:. New York: Routledge.
1191:Wells, John C. (2008),
956:Similarity (philosophy)
671:Samuel Taylor Coleridge
661:Samuel Taylor Coleridge
260:Samuel Taylor Coleridge
6797:On Divination in Sleep
6483:Horror vacui (physics)
5623:Copyright infringement
5603:Cultural appropriation
4038:Denouement/Catastrophe
4019:Rising action/Epitasis
3223:Avant-Garde and Kitsch
3173:Lectures on Aesthetics
2380:Władysław Tatarkiewicz
2170:Lawtoo, Nidesh. 2022.
2155:Lawtoo, Nidesh. 2013.
2123:Tragedy and Philosophy
2021:Davis, Michael. 1999.
1494:
1454:10.1080/00335630308178
1241:Cite journal requires
1138:. (Also available via
1118:
1106:. (Also available via
859:The Unnameable Present
774:Cultural appropriation
737:On The Mimetic Faculty
688:
486:
208:, or narrative. After
7310:Ancient Greek theatre
7289:Philosophy portal
6911:Rhetoric to Alexander
5650:Participatory culture
5618:Intellectual property
4384:Utopian and dystopian
3368:Philosophy portal
2300:. London: Routledge.
2252:Sörbom, Göran. 1966.
1752:The unnamable present
1734:Girard, René (1987).
929:The Unnamable Present
825:to see values in the
772:Further information:
578:, according to their
326:Classical definitions
7000:Andronicus of Rhodes
6901:On Virtues and Vices
6856:On Indivisible Lines
6777:Sense and Sensibilia
6747:Rhetoric and poetics
6560:mathematical realism
5707:Literary composition
5325:Artistic inspiration
5149:Intertextual figures
5116:Parody advertisement
3938:Narrative techniques
3718:Story within a story
3530:Supporting character
3313:Philosophy of design
3193:In Praise of Shadows
3183:The Critic as Artist
2008:Biographia Literaria
2004:Coleridge, Samuel T.
1923:The celestial hunter
1627:Biographia Literaria
1224:Halliwell, Stephen.
922:The Celestial Hunter
823:Mimesis and Alterity
784:Mimesis and Alterity
489:Contrast to diegesis
375:account of the Forms
113:) is a term used in
45:For other uses, see
6970:Strato of Lampsacus
6602:Posterior Analytics
6354:Ideas and interests
5956:Composition studies
5905:Creative nonfiction
5770:Linguistic contrast
5763: / devices
5660:Recontextualisation
5613:Information society
5608:History of printing
5588:Academic dishonesty
5349:Genius (literature)
5038:Literal music video
4949:Photographic mosaic
4744:Chopped and screwed
4643:Political narrative
4485:Unreliable narrator
4342:Speculative fiction
4050:Nonlinear narrative
3998:Three-act structure
3858:Deal with the Devil
3323:Philosophy of music
3298:Mathematical beauty
2314:Classical Quarterly
2218:London: Routledge.
2174:Leuven: Leuven UP.
1804:research.calvin.edu
962:Man, Play and Games
665:Referring to it as
621:is the influential
380:In Book II of
343:saw in mimesis the
7370:Visual arts theory
7014:Islamic Golden Age
6937:Peripatetic school
6723:Nicomachean Ethics
6418:Future contingents
5337:Divine inspiration
5126:Video game modding
4968:By source material
4621:Narrative paradigm
4616:Narrative identity
4546:Dominant narrative
4492:Multiple narrators
3776:Fictional location
3619:Dramatic structure
3318:Philosophy of film
3308:Patterns in nature
3278:Applied aesthetics
3253:Why Beauty Matters
3039:Life imitating art
2900:Art for art's sake
2036:Elam, Keir. 1980.
1286:Aristotle (1968).
983:Dionysian imitatio
692:William Wordsworth
613:Dionysian imitatio
529:(c. 373 BC),
384:, Plato describes
115:literary criticism
7330:Muses (mythology)
7297:
7296:
7249:Metabasis paradox
7210:
7209:
7150:
7149:
7137:Pietro Pomponazzi
7079:
7078:
7059:
7058:
7008:
7007:
6960:Eudemus of Rhodes
6950:Clearchus of Soli
6924:
6923:
6592:On Interpretation
6535:Temporal finitism
6423:Genus–differentia
6380:Category of being
6287:
6286:
6058:(first principle)
5969:
5968:
5961:Technical writing
5775:Literary contrast
5673:
5672:
5580:artistic concepts
5568:Russian formalism
5294:
5293:
5134:
5133:
5023:Anime music video
5006:
5005:
4998:Statue of Liberty
4796:Musical quotation
4739:Bootleg recording
4683:
4682:
4626:Narrative therapy
4060:television series
4005:Freytag's Pyramid
3848:Moral development
3751:Alternate history
3461:False protagonist
3376:
3375:
3328:Psychology of art
3203:Art as Experience
2238:Sen, R. K. 1966.
1140:Project Gutenberg
1108:Project Gutenberg
994:Classical sources
978:Mimesis criticism
760:Belgian feminist
745:sympathetic magic
673:'s theory of the
300:Nikolas Kompridis
212:, the meaning of
16:(Redirected from
7377:
7350:Plot (narrative)
7287:
7286:
7285:
7275:
7274:
7152:
7132:Jacopo Zabarella
7081:
7061:
7010:
6990:Diodorus of Tyre
6933:
6575:
6505:Substance theory
6466:Moderate realism
6460:Minima naturalia
6361:Active intellect
6314:
6307:
6300:
6291:
6279:
6269:
6259:
6249:
6239:
6229:
6219:
6209:
6199:
6189:
6179:
6169:
6159:
6149:
6139:
6129:
6119:
6109:
6099:
6089:
6079:
6069:
6059:
6049:
6039:
6029:
6019:
5996:
5989:
5982:
5973:
5879:Rhetorical modes
5869:Grammatical mood
5823:Cut-up technique
5721:Characterization
5700:
5693:
5686:
5677:
5492:
5482:
5469:
5300:Related artistic
5266:Imitation in art
5236:Assemblage (art)
5145:
4944:Combine painting
4932:
4917:Verbatim theatre
4892:Cut-up technique
4791:Music plagiarism
4729:
4710:
4703:
4696:
4687:
4606:Literary science
4149:Narrative poetry
4045:Linear narrative
3955:Stylistic device
3950:Show, don't tell
3913:Figure of speech
3703:Shaggy dog story
3446:Characterization
3403:
3396:
3389:
3380:
3366:
3365:
3364:
3258:
3248:
3238:
3228:
3218:
3208:
3198:
3188:
3178:
3168:
3158:
3148:
3138:
3128:
2427:
2420:
2413:
2404:
2378:, an article by
2294:Taussig, Michael
2278:, translated by
2119:Kaufmann, Walter
2067:
1972:
1966:
1960:
1959:
1953:
1945:
1917:
1911:
1910:
1908:
1906:
1891:
1885:
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1856:
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1821:
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1795:
1789:
1788:
1782:
1774:
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1740:
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1716:
1710:
1704:
1703:
1675:
1666:
1646:
1640:
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1613:
1607:
1604:
1593:
1590:
1588:
1586:
1574:
1572:
1570:
1558:
1556:
1554:
1542:
1540:
1538:
1521:
1519:
1517:
1508:. Archived from
1501:
1495:
1481:
1475:
1474:Davis (1993, 3).
1472:
1466:
1465:
1437:
1431:
1430:
1402:
1396:
1395:
1389:
1381:
1353:
1347:
1346:
1327:. London: Cape.
1318:
1312:
1311:
1283:
1277:
1257:
1251:
1250:
1244:
1239:
1237:
1229:
1221:
1215:
1212:
1206:
1205:
1188:
1173:
1164:
1158:
1149:
1143:
1134:, translated by
1125:
1119:
1102:, translated by
1093:
1087:
1082:, translated by
1073:
1062:
1057:, translated by
1048:
1042:
1033:
1027:
1018:
1012:
1003:
190:, and the good.
169:
168:
159:
158:
108:
100:
99:
96:
95:
92:
87:
86:
83:
80:
77:
74:
71:
68:
65:
21:
7385:
7384:
7380:
7379:
7378:
7376:
7375:
7374:
7345:Play (activity)
7315:Aristotelianism
7300:
7299:
7298:
7293:
7283:
7281:
7263:
7206:
7146:
7142:Cesar Cremonini
7098:Albertus Magnus
7075:
7055:
7004:
6920:
6876:Physiognomonics
6871:On Things Heard
6866:On the Universe
6827:
6811:
6769:Parva Naturalia
6763:
6742:
6728:Eudemian Ethics
6708:
6692:
6654:
6616:
6597:Prior Analytics
6564:
6488:Rational animal
6349:
6323:
6321:Aristotelianism
6318:
6288:
6283:
6277:
6267:
6257:
6247:
6237:
6227:
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6197:
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6087:
6077:
6067:
6057:
6047:
6037:
6027:
6017:
6005:
6000:
5970:
5965:
5944:Beyond the arts
5939:
5893:
5847:
5806:Writing process
5794:
5755:
5736:Fiction writing
5709:
5704:
5674:
5669:
5655:Pirate politics
5628:Derivative work
5581:
5579:
5572:
5495:
5490:
5480:
5467:
5456:
5454:
5447:
5443:Story structure
5438:Stock character
5418:Formula fiction
5406:
5404:
5403:Standard blocks
5397:
5303:
5301:
5290:
5219:
5191:
5140:
5130:
5089:
5018:Abridged series
5002:
4990:Michelangelo's
4982:Michelangelo's
4963:
4928:
4921:
4907:Jukebox musical
4875:
4720:
4714:
4684:
4679:
4611:Literary theory
4551:Fiction writing
4534:
4506:
4441:
4193:
4185:
4076:
3974:
3879:
3814:
3737:
3608:Deus ex machina
3549:
3535:Title character
3520:Stock character
3466:Focal character
3412:
3407:
3377:
3372:
3362:
3360:
3337:
3261:
3256:
3246:
3236:
3233:Critical Essays
3226:
3216:
3206:
3196:
3186:
3176:
3166:
3156:
3146:
3136:
3126:
3110:
2883:
2797:Ortega y Gasset
2590:
2502:
2436:
2431:
2370:Wayback Machine
2324:
2254:Mimesis and Art
2064:
2051:
1984:Auerbach, Erich
1980:
1975:
1967:
1963:
1946:
1934:
1919:
1918:
1914:
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1892:
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1728:
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1692:
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1649:Auerbach, Erich
1647:
1643:
1623:
1619:
1614:
1610:
1605:
1596:
1584:
1582:
1577:
1568:
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1513:
1512:on 19 June 2005
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1370:
1355:
1354:
1350:
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1315:
1300:
1285:
1284:
1280:
1260:Auerbach, Erich
1258:
1254:
1240:
1230:
1223:
1222:
1218:
1213:
1209:
1203:
1190:
1189:
1185:
1181:
1176:
1165:
1161:
1150:
1146:
1127:Plato, 360 BC,
1126:
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1114:
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1090:
1074:
1065:
1049:
1045:
1034:
1030:
1019:
1015:
1004:
1000:
996:
991:
952:
940:
907:Walter Benjamin
868:Joseph Goebbels
854:
852:Roberto Calasso
835:
827:anthropologists
799:"White Indians"
791:Michael Taussig
780:
770:
768:Michael Taussig
758:
741:Walter Benjamin
735:In his essay, "
733:
731:Walter Benjamin
700:
663:
658:
623:literary method
615:
609:
491:
409:
333:
328:
320:Roberto Calasso
308:Michael Taussig
292:Jacques Derrida
276:Walter Benjamin
160:) derives from
89:
62:
58:
50:
43:
32:Mimetic muscles
28:
23:
22:
15:
12:
11:
5:
7383:
7381:
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7357:
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7332:
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7302:
7301:
7295:
7294:
7292:
7291:
7279:
7268:
7265:
7264:
7262:
7261:
7256:
7254:Views on women
7251:
7246:
7241:
7236:
7235:
7234:
7224:
7218:
7216:
7215:Related topics
7212:
7211:
7208:
7207:
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7179:
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7169:
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7139:
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7129:
7127:Peter of Spain
7124:
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7112:
7111:
7110:
7103:Thomas Aquinas
7100:
7095:
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7018:
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6997:
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6980:Aristo of Ceos
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6833:Pseudepigrapha
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6635:On the Heavens
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6367:Antiperistasis
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5864:Writer's voice
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5754:
5753:
5751:Writer's block
5748:
5743:
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5733:
5728:
5723:
5717:
5715:
5714:General topics
5711:
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5705:
5703:
5702:
5695:
5688:
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5571:
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5555:
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5513:De Copia Rerum
5509:
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5497:
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5494:
5493:
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5459:
5457:
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5409:
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5370:
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5299:
5296:
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5273:
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5258:
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5224:Other concepts
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5048:Re-cut trailer
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4816:Plunderphonics
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4773:
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4705:
4698:
4690:
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4680:
4678:
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4675:Verisimilitude
4672:
4667:
4662:
4657:
4656:
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4623:
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4608:
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4578:Parallel novel
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4272:
4267:
4262:
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4237:
4232:
4227:
4222:
4220:Action fiction
4212:
4207:
4201:
4199:
4187:
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4184:
4183:
4178:
4173:
4168:
4163:
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4129:
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4119:
4114:
4104:
4099:
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4057:
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4021:
4016:
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4000:
3995:
3984:
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3800:
3799:
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3768:
3763:
3758:
3753:
3747:
3745:
3739:
3738:
3736:
3735:
3730:
3725:
3720:
3715:
3710:
3705:
3700:
3698:Self-insertion
3695:
3690:
3685:
3683:Poetic justice
3680:
3675:
3670:
3665:
3660:
3653:
3646:
3641:
3636:
3631:
3626:
3621:
3616:
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3604:
3599:
3594:
3589:
3584:
3583:
3582:
3572:
3567:
3559:
3557:
3551:
3550:
3548:
3547:
3542:
3537:
3532:
3527:
3522:
3517:
3512:
3507:
3506:
3505:
3500:
3495:
3485:
3478:
3473:
3468:
3463:
3458:
3453:
3448:
3443:
3441:Character flaw
3438:
3433:
3428:
3422:
3420:
3414:
3413:
3408:
3406:
3405:
3398:
3391:
3383:
3374:
3373:
3371:
3370:
3358:
3353:
3348:
3342:
3339:
3338:
3336:
3335:
3330:
3325:
3320:
3315:
3310:
3305:
3303:Neuroesthetics
3300:
3295:
3290:
3285:
3283:Arts criticism
3280:
3275:
3269:
3267:
3263:
3262:
3260:
3259:
3249:
3239:
3229:
3219:
3209:
3199:
3189:
3179:
3169:
3159:
3153:On the Sublime
3149:
3139:
3129:
3118:
3116:
3112:
3111:
3109:
3108:
3103:
3098:
3093:
3088:
3083:
3078:
3073:
3066:
3061:
3056:
3051:
3046:
3041:
3036:
3031:
3024:
3019:
3017:Interpretation
3014:
3009:
3004:
2999:
2994:
2989:
2984:
2979:
2974:
2969:
2964:
2959:
2954:
2949:
2944:
2939:
2934:
2933:
2932:
2927:
2917:
2912:
2910:Artistic merit
2907:
2902:
2897:
2891:
2889:
2885:
2884:
2882:
2881:
2874:
2869:
2864:
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2814:
2809:
2804:
2799:
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2774:
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2754:
2749:
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2729:
2724:
2719:
2714:
2709:
2704:
2699:
2694:
2689:
2684:
2679:
2674:
2669:
2664:
2659:
2654:
2649:
2644:
2639:
2634:
2629:
2624:
2619:
2614:
2609:
2604:
2598:
2596:
2592:
2591:
2589:
2588:
2581:
2576:
2571:
2566:
2561:
2559:Psychoanalysis
2556:
2551:
2546:
2541:
2536:
2531:
2526:
2521:
2516:
2510:
2508:
2504:
2503:
2501:
2500:
2495:
2490:
2485:
2480:
2475:
2470:
2465:
2460:
2455:
2450:
2444:
2442:
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2422:
2415:
2407:
2401:
2400:
2386:
2373:
2360:
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2346:
2340:
2335:
2330:
2323:
2322:External links
2320:
2319:
2318:
2309:
2291:
2269:
2257:
2250:
2243:
2236:
2235:(182):375–396.
2227:
2212:
2197:
2195:978-1438437408
2183:
2180:978-9462703469
2168:
2165:978-1611860962
2153:
2150:978-0804732826
2134:
2116:
2101:
2098:978-0804755801
2083:
2068:
2062:
2049:
2034:
2019:
2001:
1979:
1976:
1974:
1973:
1961:
1933:978-0374120061
1932:
1912:
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1851:
1836:
1816:
1790:
1762:978-0374279479
1761:
1741:
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1496:
1476:
1467:
1432:
1417:
1397:
1369:978-0804788090
1368:
1348:
1333:
1313:
1298:
1278:
1252:
1243:|journal=
1216:
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1201:
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1013:
997:
995:
992:
990:
987:
986:
985:
980:
975:
970:
967:Roger Caillois
958:
951:
948:
944:Homo Mimeticus
939:
936:
853:
850:
834:
831:
788:anthropologist
769:
766:
757:
754:
732:
729:
708:Erich Auerbach
699:
698:Erich Auerbach
696:
662:
659:
657:
654:
640:formulated by
611:Main article:
608:
602:
507:, rather than
490:
487:
408:
405:
393:Platonic ideal
345:representation
332:
329:
327:
324:
280:Theodor Adorno
229:Erich Auerbach
180:ancient Greece
133:representation
40:Mimetic theory
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
7382:
7371:
7368:
7366:
7363:
7361:
7358:
7356:
7353:
7351:
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7323:
7321:
7318:
7316:
7313:
7311:
7308:
7307:
7305:
7290:
7280:
7278:
7270:
7269:
7266:
7260:
7259:Wheel paradox
7257:
7255:
7252:
7250:
7247:
7245:
7242:
7240:
7237:
7233:
7230:
7229:
7228:
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7213:
7203:
7200:
7198:
7195:
7193:
7190:
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7170:
7168:
7167:Trendelenburg
7165:
7163:
7160:
7159:
7157:
7153:
7143:
7140:
7138:
7135:
7133:
7130:
7128:
7125:
7121:
7118:
7117:
7116:
7113:
7109:
7106:
7105:
7104:
7101:
7099:
7096:
7094:
7093:Peter Lombard
7091:
7090:
7088:
7086:
7085:Scholasticism
7082:
7072:
7069:
7068:
7066:
7062:
7050:
7047:
7046:
7045:
7042:
7038:
7035:
7034:
7033:
7030:
7028:
7025:
7023:
7020:
7019:
7017:
7015:
7011:
7001:
6998:
6996:
6993:
6991:
6988:
6986:
6983:
6981:
6978:
6976:
6975:Lyco of Troas
6973:
6971:
6968:
6966:
6963:
6961:
6958:
6956:
6953:
6951:
6948:
6946:
6943:
6942:
6940:
6938:
6934:
6931:
6927:
6917:
6916:Magna Moralia
6914:
6912:
6909:
6907:
6904:
6902:
6899:
6897:
6894:
6892:
6889:
6887:
6884:
6882:
6879:
6877:
6874:
6872:
6869:
6867:
6864:
6862:
6859:
6857:
6854:
6852:
6849:
6847:
6844:
6842:
6839:
6838:
6836:
6834:
6830:
6824:
6821:
6820:
6818:
6814:
6808:
6805:
6803:
6800:
6798:
6795:
6793:
6790:
6788:
6785:
6783:
6780:
6778:
6775:
6774:
6772:
6770:
6766:
6760:
6757:
6755:
6752:
6751:
6749:
6745:
6739:
6736:
6734:
6731:
6729:
6726:
6724:
6721:
6720:
6718:
6715:
6711:
6705:
6702:
6701:
6699:
6695:
6689:
6686:
6684:
6681:
6679:
6676:
6674:
6671:
6669:
6666:
6665:
6663:
6661:
6657:
6651:
6648:
6646:
6643:
6641:
6638:
6636:
6633:
6631:
6628:
6627:
6625:
6623:
6619:
6613:
6610:
6608:
6605:
6603:
6600:
6598:
6595:
6593:
6590:
6588:
6585:
6584:
6582:
6580:
6576:
6573:
6571:
6567:
6561:
6558:
6556:
6555:Virtue ethics
6553:
6551:
6550:Unmoved mover
6548:
6546:
6543:
6541:
6538:
6536:
6533:
6531:
6530:
6526:
6524:
6521:
6518:
6517:
6512:
6511:
6506:
6503:
6501:
6498:
6496:
6495:
6491:
6489:
6486:
6484:
6481:
6479:
6478:
6474:
6472:
6469:
6467:
6464:
6462:
6461:
6457:
6455:
6454:
6450:
6448:
6445:
6443:
6442:
6438:
6436:
6433:
6431:
6430:
6426:
6424:
6421:
6419:
6416:
6414:
6411:
6409:
6408:
6404:
6402:
6398:
6395:
6393:
6390:
6388:
6387:
6383:
6381:
6378:
6376:
6375:
6371:
6369:
6368:
6364:
6362:
6359:
6358:
6356:
6352:
6346:
6343:
6341:
6338:
6336:
6333:
6332:
6330:
6326:
6322:
6315:
6310:
6308:
6303:
6301:
6296:
6295:
6292:
6280:
6276:
6272:
6270:
6266:
6262:
6260:
6256:
6252:
6250:
6246:
6242:
6240:
6236:
6232:
6230:
6226:
6222:
6220:
6216:
6212:
6210:
6206:
6202:
6200:
6196:
6192:
6190:
6186:
6182:
6180:
6176:
6172:
6170:
6166:
6162:
6160:
6156:
6152:
6150:
6146:
6142:
6140:
6138:(flourishing)
6136:
6132:
6130:
6126:
6122:
6120:
6116:
6112:
6110:
6106:
6102:
6100:
6096:
6092:
6090:
6086:
6082:
6080:
6078:(tranquility)
6076:
6072:
6070:
6066:
6062:
6060:
6056:
6052:
6050:
6046:
6042:
6040:
6036:
6032:
6030:
6026:
6022:
6020:
6018:(indifferent)
6016:
6012:
6011:
6008:
6004:
5997:
5992:
5990:
5985:
5983:
5978:
5977:
5974:
5962:
5959:
5957:
5954:
5952:
5949:
5948:
5946:
5942:
5936:
5933:
5931:
5928:
5926:
5923:
5921:
5918:
5916:
5913:
5911:
5908:
5906:
5903:
5902:
5900:
5896:
5890:
5887:
5885:
5882:
5880:
5877:
5875:
5872:
5870:
5867:
5865:
5862:
5860:
5859:Writing style
5857:
5856:
5854:
5850:
5844:
5841:
5839:
5836:
5834:
5831:
5829:
5826:
5824:
5821:
5819:
5816:
5812:
5809:
5808:
5807:
5804:
5803:
5801:
5797:
5791:
5788:
5786:
5783:
5781:
5778:
5776:
5773:
5771:
5768:
5767:
5765:
5762:
5758:
5752:
5749:
5747:
5744:
5742:
5739:
5737:
5734:
5732:
5729:
5727:
5724:
5722:
5719:
5718:
5716:
5712:
5708:
5701:
5696:
5694:
5689:
5687:
5682:
5681:
5678:
5666:
5665:Remix culture
5663:
5661:
5658:
5656:
5653:
5651:
5648:
5646:
5643:
5641:
5638:
5634:
5631:
5629:
5626:
5624:
5621:
5620:
5619:
5616:
5614:
5611:
5609:
5606:
5604:
5601:
5599:
5596:
5594:
5591:
5589:
5586:
5585:
5583:
5575:
5569:
5566:
5564:
5563:Postmodernism
5561:
5559:
5556:
5554:
5553:
5549:
5547:
5546:
5542:
5540:
5539:
5535:
5533:
5530:
5528:
5527:
5522:
5520:
5517:
5515:
5514:
5510:
5508:
5505:
5504:
5502:
5498:
5489:
5488:
5484:
5478:
5477:
5471:
5466:
5465:
5461:
5460:
5458:
5453:Epoch-marking
5450:
5444:
5441:
5439:
5436:
5434:
5431:
5429:
5428:Jazz standard
5426:
5424:
5423:Genre fiction
5421:
5419:
5416:
5414:
5411:
5410:
5408:
5400:
5394:
5393:Western canon
5391:
5389:
5386:
5384:
5381:
5379:
5378:Genre studies
5376:
5374:
5371:
5367:
5364:
5363:
5362:
5359:
5355:
5352:
5350:
5347:
5345:
5344:
5340:
5339:
5338:
5335:
5332:
5328:
5326:
5323:
5321:
5318:
5316:
5313:
5311:
5308:
5307:
5305:
5297:
5287:
5284:
5282:
5279:
5277:
5274:
5272:
5269:
5267:
5264:
5262:
5259:
5257:
5254:
5252:
5249:
5247:
5244:
5242:
5239:
5237:
5234:
5232:
5229:
5228:
5226:
5222:
5216:
5213:
5211:
5208:
5206:
5203:
5202:
5200:
5198:
5194:
5188:
5185:
5183:
5180:
5178:
5175:
5173:
5170:
5168:
5165:
5163:
5160:
5158:
5155:
5154:
5152:
5150:
5146:
5143:
5137:
5127:
5124:
5122:
5119:
5117:
5114:
5112:
5109:
5107:
5106:Internet meme
5104:
5102:
5099:
5098:
5096:
5092:
5086:
5083:
5081:
5078:
5076:
5073:
5071:
5068:
5066:
5063:
5059:
5058:Shot-for-shot
5056:
5055:
5054:
5051:
5049:
5046:
5044:
5041:
5039:
5036:
5034:
5033:Found footage
5031:
5029:
5026:
5024:
5021:
5019:
5016:
5015:
5013:
5009:
4999:
4996:
4994:
4993:
4988:
4986:
4985:
4980:
4978:
4977:
4973:
4972:
4970:
4966:
4960:
4957:
4955:
4952:
4950:
4947:
4945:
4942:
4940:
4937:
4936:
4933:
4930:
4924:
4918:
4915:
4913:
4910:
4908:
4905:
4903:
4900:
4898:
4895:
4893:
4890:
4888:
4885:
4884:
4882:
4878:
4872:
4869:
4867:
4864:
4862:
4859:
4857:
4854:
4852:
4849:
4847:
4846:Sound collage
4844:
4842:
4839:
4837:
4834:
4832:
4829:
4827:
4824:
4822:
4819:
4817:
4814:
4812:
4809:
4807:
4804:
4802:
4799:
4797:
4794:
4792:
4789:
4787:
4784:
4782:
4779:
4777:
4776:Interpolation
4774:
4772:
4769:
4767:
4766:Cover version
4764:
4762:
4759:
4755:
4752:
4751:
4750:
4747:
4745:
4742:
4740:
4737:
4736:
4734:
4730:
4727:
4723:
4718:
4717:Appropriation
4711:
4706:
4704:
4699:
4697:
4692:
4691:
4688:
4676:
4673:
4671:
4668:
4666:
4663:
4661:
4660:Screenwriting
4658:
4654:
4651:
4650:
4649:
4646:
4644:
4641:
4637:
4634:
4633:
4632:
4629:
4627:
4624:
4622:
4619:
4617:
4614:
4612:
4609:
4607:
4604:
4600:
4597:
4596:
4595:
4592:
4588:
4584:
4581:
4579:
4576:
4572:
4569:
4567:
4564:
4562:
4559:
4558:
4557:
4554:
4553:
4552:
4549:
4547:
4544:
4543:
4541:
4537:
4531:
4528:
4526:
4523:
4521:
4518:
4517:
4515:
4513:
4509:
4503:
4500:
4498:
4495:
4493:
4490:
4486:
4483:
4481:
4478:
4476:
4473:
4472:
4471:
4468:
4466:
4465:Second-person
4463:
4461:
4458:
4456:
4453:
4452:
4450:
4448:
4444:
4436:
4433:
4431:
4428:
4427:
4426:
4423:
4419:
4416:
4414:
4411:
4409:
4406:
4404:
4401:
4397:
4394:
4390:
4387:
4385:
4382:
4380:
4377:
4376:
4375:
4372:
4370:
4369:Magic realism
4367:
4365:
4362:
4358:
4355:
4354:
4353:
4350:
4348:
4345:
4344:
4343:
4340:
4338:
4335:
4333:
4330:
4326:
4323:
4321:
4318:
4317:
4316:
4313:
4311:
4308:
4306:
4303:
4301:
4300:Psychological
4298:
4296:
4293:
4291:
4288:
4286:
4283:
4281:
4280:Philosophical
4278:
4276:
4273:
4271:
4268:
4266:
4263:
4261:
4258:
4256:
4253:
4251:
4248:
4246:
4243:
4241:
4238:
4236:
4233:
4231:
4228:
4226:
4223:
4221:
4218:
4217:
4216:
4213:
4211:
4208:
4206:
4205:Autobiography
4203:
4202:
4200:
4197:
4192:
4188:
4182:
4179:
4177:
4174:
4172:
4169:
4167:
4164:
4162:
4159:
4155:
4152:
4151:
4150:
4147:
4145:
4144:Narrative art
4142:
4140:
4137:
4133:
4130:
4128:
4125:
4123:
4120:
4118:
4115:
4113:
4110:
4109:
4108:
4105:
4103:
4102:Flash fiction
4100:
4098:
4097:
4093:
4091:
4088:
4087:
4085:
4083:
4079:
4073:
4070:
4068:
4065:
4061:
4058:
4056:
4053:
4052:
4051:
4048:
4046:
4043:
4039:
4036:
4034:
4031:
4029:
4025:
4022:
4020:
4017:
4015:
4011:
4008:
4007:
4006:
4003:
3999:
3996:
3994:
3993:Act structure
3991:
3990:
3989:
3986:
3985:
3983:
3981:
3977:
3971:
3968:
3966:
3963:
3961:
3958:
3956:
3953:
3951:
3948:
3944:
3941:
3940:
3939:
3936:
3934:
3931:
3929:
3926:
3924:
3921:
3919:
3916:
3914:
3911:
3909:
3906:
3904:
3901:
3899:
3896:
3894:
3891:
3890:
3888:
3886:
3882:
3876:
3873:
3871:
3868:
3864:
3861:
3859:
3856:
3855:
3854:
3851:
3849:
3846:
3844:
3841:
3839:
3836:
3834:
3831:
3829:
3826:
3825:
3823:
3821:
3817:
3811:
3810:Worldbuilding
3808:
3806:
3803:
3797:
3794:
3793:
3792:
3789:
3787:
3784:
3782:
3779:
3778:
3777:
3774:
3772:
3769:
3767:
3764:
3762:
3759:
3757:
3754:
3752:
3749:
3748:
3746:
3744:
3740:
3734:
3731:
3729:
3726:
3724:
3721:
3719:
3716:
3714:
3711:
3709:
3706:
3704:
3701:
3699:
3696:
3694:
3691:
3689:
3686:
3684:
3681:
3679:
3676:
3674:
3671:
3669:
3666:
3664:
3661:
3659:
3658:
3657:Kishōtenketsu
3654:
3652:
3651:
3650:In medias res
3647:
3645:
3642:
3640:
3637:
3635:
3632:
3630:
3629:Foreshadowing
3627:
3625:
3624:Eucatastrophe
3622:
3620:
3617:
3615:
3612:
3610:
3609:
3605:
3603:
3600:
3598:
3595:
3593:
3590:
3588:
3587:Chekhov's gun
3585:
3581:
3578:
3577:
3576:
3573:
3571:
3568:
3566:
3565:
3561:
3560:
3558:
3556:
3552:
3546:
3543:
3541:
3538:
3536:
3533:
3531:
3528:
3526:
3523:
3521:
3518:
3516:
3513:
3511:
3508:
3504:
3501:
3499:
3496:
3494:
3491:
3490:
3489:
3486:
3484:
3483:
3479:
3477:
3476:Gothic double
3474:
3472:
3469:
3467:
3464:
3462:
3459:
3457:
3456:Deuteragonist
3454:
3452:
3449:
3447:
3444:
3442:
3439:
3437:
3436:Character arc
3434:
3432:
3429:
3427:
3424:
3423:
3421:
3419:
3415:
3411:
3404:
3399:
3397:
3392:
3390:
3385:
3384:
3381:
3369:
3359:
3357:
3354:
3352:
3349:
3347:
3344:
3343:
3340:
3334:
3333:Theory of art
3331:
3329:
3326:
3324:
3321:
3319:
3316:
3314:
3311:
3309:
3306:
3304:
3301:
3299:
3296:
3294:
3291:
3289:
3286:
3284:
3281:
3279:
3276:
3274:
3271:
3270:
3268:
3264:
3255:
3254:
3250:
3245:
3244:
3240:
3235:
3234:
3230:
3224:
3220:
3214:
3210:
3205:
3204:
3200:
3195:
3194:
3190:
3184:
3180:
3175:
3174:
3170:
3165:
3164:
3160:
3155:
3154:
3150:
3145:
3144:
3140:
3135:
3134:
3130:
3125:
3124:
3123:Hippias Major
3120:
3119:
3117:
3113:
3107:
3104:
3102:
3099:
3097:
3094:
3092:
3089:
3087:
3084:
3082:
3079:
3077:
3074:
3072:
3071:
3067:
3065:
3062:
3060:
3057:
3055:
3052:
3050:
3047:
3045:
3042:
3040:
3037:
3035:
3032:
3030:
3029:
3025:
3023:
3020:
3018:
3015:
3013:
3010:
3008:
3005:
3003:
3000:
2998:
2995:
2993:
2990:
2988:
2985:
2983:
2982:Entertainment
2980:
2978:
2975:
2973:
2970:
2968:
2965:
2963:
2960:
2958:
2955:
2953:
2950:
2948:
2945:
2943:
2940:
2938:
2935:
2931:
2928:
2926:
2923:
2922:
2921:
2918:
2916:
2913:
2911:
2908:
2906:
2905:Art manifesto
2903:
2901:
2898:
2896:
2895:Appropriation
2893:
2892:
2890:
2886:
2880:
2879:
2875:
2873:
2870:
2868:
2865:
2863:
2860:
2858:
2855:
2853:
2850:
2848:
2845:
2843:
2840:
2838:
2835:
2833:
2830:
2828:
2825:
2823:
2820:
2818:
2815:
2813:
2810:
2808:
2805:
2803:
2800:
2798:
2795:
2793:
2790:
2788:
2787:Merleau-Ponty
2785:
2783:
2780:
2778:
2775:
2773:
2770:
2768:
2765:
2763:
2760:
2758:
2755:
2753:
2750:
2748:
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2743:
2740:
2738:
2735:
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2700:
2698:
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2680:
2678:
2675:
2673:
2670:
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2655:
2653:
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2648:
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2643:
2640:
2638:
2635:
2633:
2630:
2628:
2625:
2623:
2620:
2618:
2615:
2613:
2610:
2608:
2605:
2603:
2602:Abhinavagupta
2600:
2599:
2597:
2593:
2587:
2586:
2582:
2580:
2577:
2575:
2572:
2570:
2567:
2565:
2562:
2560:
2557:
2555:
2554:Postmodernism
2552:
2550:
2547:
2545:
2542:
2540:
2537:
2535:
2532:
2530:
2527:
2525:
2522:
2520:
2517:
2515:
2512:
2511:
2509:
2505:
2499:
2496:
2494:
2491:
2489:
2486:
2484:
2481:
2479:
2476:
2474:
2471:
2469:
2466:
2464:
2461:
2459:
2456:
2454:
2451:
2449:
2446:
2445:
2443:
2439:
2435:
2428:
2423:
2421:
2416:
2414:
2409:
2408:
2405:
2398:
2394:
2390:
2387:
2385:
2381:
2377:
2374:
2371:
2367:
2364:
2361:
2359:
2357:
2352:
2350:
2347:
2344:
2341:
2339:
2336:
2334:
2331:
2329:
2326:
2325:
2321:
2317:(55):435–446.
2316:
2315:
2310:
2307:
2303:
2299:
2295:
2292:
2289:
2285:
2281:
2277:
2273:
2270:
2267:
2263:
2258:
2255:
2251:
2248:
2244:
2241:
2237:
2234:
2233:
2228:
2225:
2221:
2217:
2213:
2210:
2206:
2202:
2198:
2196:
2192:
2188:
2184:
2181:
2177:
2173:
2169:
2166:
2162:
2158:
2154:
2151:
2147:
2143:
2139:
2135:
2132:
2128:
2124:
2120:
2117:
2114:
2110:
2107:. Princeton.
2106:
2102:
2099:
2095:
2091:
2087:
2084:
2081:
2077:
2073:
2069:
2065:
2063:9789004533110
2059:
2055:
2050:
2047:
2043:
2039:
2035:
2032:
2028:
2024:
2020:
2017:
2013:
2009:
2005:
2002:
1999:
1995:
1991:
1990:
1985:
1982:
1981:
1977:
1970:
1965:
1962:
1957:
1951:
1943:
1939:
1935:
1929:
1925:
1924:
1916:
1913:
1900:
1896:
1890:
1887:
1882:
1878:
1874:
1872:0-8052-0241-2
1868:
1864:
1863:
1862:Illuminations
1855:
1852:
1847:
1843:
1839:
1833:
1829:
1828:
1820:
1817:
1805:
1801:
1794:
1791:
1786:
1780:
1772:
1768:
1764:
1758:
1754:
1753:
1745:
1742:
1737:
1730:
1727:
1721:
1718:
1714:
1709:
1706:
1701:
1697:
1693:
1687:
1683:
1682:
1674:
1672:
1668:
1664:
1663:0-691-11336-X
1660:
1656:
1655:
1650:
1645:
1642:
1638:
1634:
1630:
1628:
1621:
1618:
1615:Jansen (2008)
1612:
1609:
1603:
1601:
1599:
1595:
1581:
1576:
1565:
1560:
1549:
1544:
1533:
1528:
1527:
1525:
1511:
1507:
1500:
1497:
1493:
1491:
1490:
1480:
1477:
1471:
1468:
1463:
1459:
1455:
1451:
1448:(2): 89–108.
1447:
1443:
1436:
1433:
1428:
1424:
1420:
1414:
1410:
1409:
1401:
1398:
1393:
1387:
1379:
1375:
1371:
1365:
1361:
1360:
1352:
1349:
1344:
1340:
1336:
1330:
1326:
1325:
1324:Illuminations
1317:
1314:
1309:
1305:
1301:
1295:
1291:
1290:
1282:
1279:
1275:
1271:
1267:
1266:
1261:
1256:
1253:
1248:
1235:
1227:
1220:
1217:
1211:
1208:
1204:
1202:9781405881180
1198:
1194:
1187:
1184:
1178:
1171:
1170:
1163:
1160:
1156:
1155:
1148:
1145:
1141:
1137:
1133:
1131:
1124:
1121:
1117:
1109:
1105:
1101:
1099:
1092:
1089:
1085:
1081:
1079:
1072:
1070:
1068:
1064:
1060:
1056:
1054:
1047:
1044:
1040:
1039:
1032:
1029:
1025:
1024:
1017:
1014:
1010:
1009:
1002:
999:
993:
988:
984:
981:
979:
976:
974:
971:
968:
964:
963:
959:
957:
954:
953:
949:
947:
945:
938:Nidesh Lawtoo
937:
935:
932:
930:
925:
923:
919:earlier book
918:
914:
912:
908:
904:
900:
899:
894:
890:
885:
882:
878:
873:
869:
865:
862:
860:
851:
849:
846:
842:
841:
832:
830:
828:
824:
820:
814:
812:
808:
804:
800:
796:
792:
789:
785:
779:
775:
767:
765:
763:
762:Luce Irigaray
756:Luce Irigaray
755:
753:
750:
746:
742:
738:
730:
728:
725:
724:
719:
715:
714:
709:
705:
697:
695:
693:
687:
682:
680:
679:Philip Sidney
676:
672:
668:
660:
655:
653:
651:
647:
643:
639:
634:
632:
628:
624:
620:
614:
607:
603:
601:
599:
594:
591:
589:
585:
581:
577:
573:
569:
568:
562:
560:
556:
552:
548:
544:
540:
536:
532:
528:
527:
521:
518:
514:
510:
506:
502:
501:
496:
488:
485:
483:
476:
473:
471:
467:
463:
458:
454:
451:
447:
441:
438:
434:
433:
427:
425:
424:
419:
415:
406:
404:
400:
396:
394:
389:
387:
383:
378:
376:
372:
371:
366:
362:
361:
356:
355:
350:
346:
342:
338:
330:
325:
323:
321:
317:
313:
312:Merlin Donald
309:
305:
301:
297:
293:
289:
288:Luce Irigaray
285:
281:
277:
273:
272:Sigmund Freud
269:
268:Gabriel Tarde
265:
261:
257:
256:Philip Sidney
253:
248:
246:
245:
240:
236:
235:
230:
226:
221:
219:
215:
211:
207:
206:
201:
197:
193:
189:
185:
181:
177:
173:
163:
153:
148:
146:
142:
139:, the act of
138:
134:
130:
126:
122:
121:
116:
112:
104:
103:Ancient Greek
98:
56:
52:
48:
41:
37:
33:
19:
7239:Neoplatonism
6965:Theophrastus
6823:Protrepticus
6716:and politics
6527:
6514:
6510:hypokeimenon
6508:
6492:
6475:
6458:
6451:
6439:
6435:Hylomorphism
6427:
6405:
6384:
6372:
6365:
6274:
6264:
6254:
6244:
6238:(temperance)
6234:
6224:
6214:
6204:
6194:
6184:
6174:
6164:
6154:
6153:
6144:
6134:
6124:
6114:
6104:
6094:
6084:
6074:
6068:(excellence)
6064:
6054:
6044:
6034:
6024:
6014:
5832:
5578:Related non-
5550:
5543:
5536:
5531:
5525:
5511:
5500:Theorization
5485:
5475:
5462:
5341:
5256:Found object
5251:Détournement
5085:YouTube poop
5080:Video mashup
5028:Collage film
4991:
4983:
4974:
4902:Found poetry
4897:Flarf poetry
4806:Parody music
4786:Music mashup
4761:Contrafactum
4665:Storytelling
4480:Subjectivity
4470:Third-person
4460:First-person
4094:
3903:Comic relief
3655:
3648:
3639:Flashforward
3606:
3580:Origin story
3562:
3525:Straight man
3480:
3251:
3241:
3231:
3201:
3191:
3171:
3161:
3151:
3141:
3131:
3121:
3068:
3048:
3044:Magnificence
3026:
2876:
2842:Schopenhauer
2677:Coomaraswamy
2595:Philosophers
2583:
2514:Aestheticism
2383:
2355:
2312:
2297:
2275:
2253:
2246:
2239:
2230:
2215:
2200:
2186:
2171:
2156:
2137:
2122:
2104:
2089:
2086:Girard, René
2071:
2053:
2037:
2022:
2007:
1987:
1978:Bibliography
1964:
1922:
1915:
1903:. Retrieved
1901:. 9 May 2020
1899:the Guardian
1898:
1889:
1861:
1854:
1826:
1819:
1807:. Retrieved
1803:
1793:
1751:
1744:
1735:
1729:
1720:
1708:
1680:
1652:
1644:
1625:
1620:
1611:
1583:. Retrieved
1567:. Retrieved
1551:. Retrieved
1535:. Retrieved
1514:. Retrieved
1510:the original
1499:
1487:
1485:
1479:
1470:
1445:
1441:
1435:
1407:
1400:
1358:
1351:
1323:
1316:
1288:
1281:
1263:
1255:
1234:cite journal
1219:
1210:
1192:
1186:
1167:
1162:
1152:
1147:
1130:The Republic
1129:
1123:
1112:
1098:The Republic
1097:
1091:
1077:
1052:
1046:
1036:
1031:
1021:
1016:
1006:
1001:
973:Anti-mimesis
960:
943:
941:
927:
920:
915:
902:
896:
886:
857:
855:
838:
836:
822:
819:reductionism
815:
783:
781:
759:
734:
721:
711:
701:
689:
684:
666:
664:
656:Modern usage
649:
645:
637:
635:
618:
616:
605:
595:
592:
587:
583:
579:
575:
565:
563:
550:
546:
543:lyric poetry
524:
522:
520:characters.
512:
508:
504:
498:
494:
492:
481:
478:
474:
469:
459:
455:
442:
436:
430:
429:Aristotle's
428:
421:
418:formal cause
410:
401:
397:
390:
382:The Republic
381:
379:
368:
364:
360:The Republic
358:
352:
334:
249:
242:
232:
222:
213:
203:
195:
183:
171:
161:
151:
149:
118:
110:
54:
53:
51:
7365:Visual arts
7335:Narratology
7325:Film theory
7115:Duns Scotus
6955:Dicaearchus
6945:Aristoxenus
6704:Metaphysics
6697:Metaphysics
6683:Progression
6650:On the Soul
6645:Meteorology
6447:Magnanimity
6413:Four causes
6188:(substance)
6178:(intellect)
6158:(imitation)
6128:(character)
6118:(knowledge)
5935:Short story
5726:Description
5645:Open source
5433:Plot device
5383:Originality
5366:Fan fiction
5231:After (art)
5187:Translation
5043:Parody film
4927:Visual arts
4856:Tribute act
4719:in the arts
4670:Tellability
4636:Metafiction
4631:Narratology
4403:Theological
4295:Pop culture
4176:Short story
4154:Epic poetry
3875:Time travel
3688:Red herring
3673:Plot device
3644:Frame story
3597:Cliffhanger
3540:Tritagonist
3515:Protagonist
3137:(c. 335 BC)
3127:(c. 390 BC)
3106:Work of art
3059:Picturesque
2915:Avant-garde
2872:Winckelmann
2747:Kierkegaard
2672:Collingwood
2642:Baudrillard
2569:Romanticism
2539:Historicism
2473:Mathematics
2280:C. Kasparek
1585:17 December
1569:17 December
1553:17 December
1537:17 December
1516:17 December
1166:Aristotle,
1151:Aristotle,
872:Third Reich
845:René Girard
833:René Girard
803:Guna people
675:imagination
559:epic poetry
414:four causes
316:Homi Bhabha
296:René Girard
284:Paul Ricœur
194:contrasted
129:receptivity
7304:Categories
7197:Hursthouse
7071:Maimonides
7037:Avicennism
6688:Generation
6660:On Animals
6587:Categories
6407:Eudaimonia
6235:Sophrosyne
6208:(prudence)
6135:Eudaimonia
6098:(division)
6038:(infinite)
5930:Screenplay
5884:Stylistics
5843:Plagiarism
5818:Assemblage
5811:Prewriting
5761:Techniques
5741:Literature
5731:Exposition
5538:Nachahmung
5524:Dionysian
5464:L.H.O.O.Q.
5388:Simulacrum
5197:Adaptation
5177:Plagiarism
5111:Joke theft
5094:Other arts
4887:Assemblage
4749:Contrafact
4556:Continuity
4425:Nonfiction
4389:Underwater
4285:Picaresque
4260:Historical
4245:Epistolary
4117:Fairy tale
4028:Peripeteia
4010:Exposition
3766:Dreamworld
3708:Stereotype
3678:Plot twist
3426:Antagonist
3076:Recreation
3054:Perception
2947:Creativity
2647:Baumgarten
2637:Baudelaire
2519:Classicism
2434:Aesthetics
2363:Mimesislab
2306:0415906865
2288:9024722330
2266:0805843124
2256:. Uppsala.
2224:0415700302
2209:052142383X
2140:edited by
2131:0691020051
2113:0691092583
2080:0520084594
2046:0416720609
2031:1890318620
2016:0691098743
1998:069111336X
1942:1102184868
1905:4 November
1837:1784786802
1809:4 November
1771:1036096585
1691:080520802X
1637:0691098743
1418:0415906865
1334:0224618253
1299:0198141750
1274:069111336X
1132:, Book III
1100:, Book III
989:References
893:Horkheimer
617:Dionysian
604:Dionysian
264:Adam Smith
162:mīmeisthai
141:expression
7340:Platonism
7232:Platonism
7187:MacIntyre
7049:Averroism
7027:Al-Farabi
6985:Critolaus
6929:Followers
6906:Economics
6886:Mechanics
6851:On Plants
6846:On Colors
6841:On Breath
6792:On Dreams
6782:On Memory
6545:Haecceity
6523:Syllogism
6494:Phronesis
6386:Catharsis
6335:Aristotle
6205:Phronesis
6198:(passion)
6108:(opinion)
6095:Diairesis
6048:(problem)
6015:Adiaphora
5413:Archetype
5405:and forms
5361:Fan labor
5241:Bricolage
5182:Quotation
5070:TV format
4976:Mona Lisa
4871:Vaporwave
4866:Variation
4826:Quodlibet
4821:Potpourri
4811:Pasticcio
4801:Nightcore
4447:Narration
4396:Superhero
4320:Chivalric
4305:Religious
4290:Political
4225:Adventure
4210:Biography
4132:Tall tale
3980:Structure
3965:Symbolism
3933:Narration
3833:Leitmotif
3761:Crossover
3756:Backstory
3713:Story arc
3663:MacGuffin
3634:Flashback
3575:Backstory
3451:Confidant
3431:Archenemy
3418:Character
3410:Narrative
3081:Reverence
2987:Eroticism
2957:Depiction
2930:Masculine
2832:Santayana
2792:Nietzsche
2737:Hutcheson
2727:Heidegger
2712:Greenberg
2667:Coleridge
2632:Balthasar
2617:Aristotle
2579:Theosophy
2574:Symbolism
2549:Modernism
2534:Formalism
2389:"Mimesis"
2376:"Mimesis"
2245:—— 2001.
2232:Semiotica
1950:cite book
1846:957655599
1800:"Mimicry"
1779:cite book
1462:144657276
1386:cite book
1378:919087055
1179:Citations
1136:B. Jowett
1104:B. Jowett
1084:B. Jowett
1059:B. Jowett
1055:, Book II
917:Calasso's
881:Holocaust
749:astrology
667:imitation
642:Aristotle
555:dithyramb
450:empathise
446:catharsis
407:Aristotle
341:Aristotle
252:Aristotle
200:imitation
167:μιμεῖσθαι
125:imitation
7277:Category
7202:Nussbaum
7172:Brentano
7044:Averroes
7032:Avicenna
7022:Al-Kindi
6995:Erymneus
6891:Problems
6787:On Sleep
6754:Rhetoric
6733:Politics
6678:Movement
6540:Quiddity
6401:accident
6328:Overview
6278:(temper)
6228:(wisdom)
6218:(nature)
6148:(reason)
6115:Episteme
6075:Ataraxia
6025:Aletheia
5874:Register
5852:Features
5838:Pastiche
5828:Diegesis
5633:Fair use
5526:imitatio
5519:Diegesis
5343:Afflatus
5315:Anti-art
5302:concepts
5246:Citation
5210:Literary
5172:Pastiche
5157:Allusion
5141:concepts
5139:General
5065:Supercut
4851:Standard
4841:Sampling
4725:By field
4653:Glossary
4648:Rhetoric
4455:Diegesis
4435:Creative
4408:Thriller
4357:Southern
4275:Paranoid
4270:Nautical
4181:Vignette
4139:Gamebook
4107:Folklore
4014:Protasis
3893:Allegory
3838:Metaphor
3796:parallel
3791:universe
3771:Dystopia
3728:Suspense
3614:Dialogue
3602:Conflict
3510:Narrator
3482:Hamartia
3356:Category
3288:Axiology
3157:(c. 500)
3147:(c. 100)
3022:Judgment
2977:Emotions
2972:Elegance
2952:Cuteness
2925:Feminine
2888:Concepts
2857:Tanizaki
2837:Schiller
2822:Richards
2812:Rancière
2782:Maritain
2717:Hanslick
2657:Benjamin
2529:Feminism
2498:Theology
2478:Medieval
2468:Japanese
2463:Internet
2382:for the
2366:Archived
2296:. 1993.
2274:. 1980.
2216:Mimesis.
2142:C. Fynsk
2121:. 1992.
2088:. 2008.
1986:. 1953.
1881:12947710
1700:12805048
1651:. 1953.
1639:. p. 72.
1489:diegesis
1427:26719038
1343:10931256
1262:. 1953.
1080:, Book X
1078:Republic
1053:Republic
950:See also
843:(1978),
811:Colombia
795:alterity
786:(1993),
739:"(1933)
646:imitatio
631:rhetoric
619:imitatio
606:imitatio
598:ludology
547:diegesis
526:Republic
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6622:Physics
6579:Organon
6507: (
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6397:Essence
6258:(craft)
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6028:(truth)
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5558:Pop art
5532:Mimesis
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5276:Reprise
5215:Theatre
5101:In-joke
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4939:Collage
4583:Prequel
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4096:Fabliau
4067:Premise
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3786:country
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3498:Byronic
3351:Outline
3266:Related
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3101:Tragedy
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3064:Quality
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2493:Science
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2397:mimesis
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2247:Mimesis
1308:3354067
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1169:Poetics
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1075:Plato,
1051:Plato,
1035:Plato,
1020:Plato,
1005:Plato,
911:gestapo
864:Calasso
723:Odyssey
704:realism
650:mimesis
638:mimesis
580:objects
567:Poetics
564:In his
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535:tragedy
515:of the
513:telling
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7162:Newman
7155:Modern
7064:Jewish
6714:Ethics
6607:Topics
6477:Philia
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6268:(goal)
6255:Techne
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6225:Sophia
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6168:(unit)
6085:Cosmos
6045:Aporia
5925:Poetry
5780:Cliché
5746:Writer
5491:(2010)
5481:(1939)
5468:(1919)
5281:Satire
5271:Mashup
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4771:DJ mix
4587:Sequel
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4530:Future
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3805:Utopia
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3503:Tragic
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2852:Tagore
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889:Adorno
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588:manner
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370:techne
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6673:Parts
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188:truth
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