1475:"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
366:). 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.
589:, 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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437:. 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
550:. 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).
935:(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.
409:, 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
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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
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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
445:
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,
400:
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
579:(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."
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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.
432:
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
683:'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.
670:, 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:
377:' 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.
805:
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.
428:
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.
902:. 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.
868:" 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.
356:, 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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1215:"'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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311:, 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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802:), 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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384:, 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
534:): all types narrate events, he argues, but by differing means. He distinguishes between narration or report (
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2361:, 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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2192:, translated by J. Halliday, European Studies in English Literature series. Cambridige: Cambridge UP.
340:, 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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500:, by means of directly represented action that is enacted. Diegesis, however, is the
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Wilson, Kirt (2003). "The Racial Politics of Imitation in the Nineteenth Century".
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666:. Coleridge begins his thoughts on imitation and poetry from Plato, Aristotle, and
559:, 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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542:). 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
362:) of the subject, the poet does not speak truth (as characterized by Plato's
226:, which opens with a comparison between the way the world is represented in
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1999:, vol. 1, edited by J. Engell and W. J. Bate. Princeton, NJ: Princeton UP.
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1884:"The Celestial Hunter by Roberto Calasso review – the sacrificial society"
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1481:(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
1128:
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899:
711:
523:
450:
449:
Aristotle thought of drama as being "an imitation of an action" and of
438:
232:
125:
1854:. Hannah Arendt. New York: Schocken Books. pp. 141–147, 217–265.
679:
Here, Coleridge opposes imitation to copying, the latter referring to
625:
Dionysius' concept marked a significant departure from the concept of
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1351:. Theodor W. Adorno, Gunzelin Schmid Noerr. Stanford, California.
706:
519:
325:
227:
198:
180:
176:
2079:
Mimesis and Theory: Essays on Literature and Criticism, 1953–2005
1958:
464:
Michael Davis, a translator and commentator of Aristotle writes:
6162:
6092:
5903:
5628:
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4320:
4115:
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3016:
2990:
2063:, translated by D. Reneau. Berkeley, CA: U of California Press.
560:
106:
and philosophy that carries a wide range of meanings, including
6282:
5964:
5668:
4678:
3371:
2395:
859:—though it is a universal human ability—was interpreted by the
2985:
2229:
Aesthetic Enjoyment: Its Background in Philosophy and Medicine
2146:
The Phantom of the Ego: Modernism and the Mimetic Unconscious.
1670:
Reflections : essays, aphorisms, autobiographical writing
1397:
Mimesis and alterity : a particular history of the senses
64:
2391:
2380:, 2021, an article by María Antonia González Valerio for the
3367:
2342:
2094:
The Aesthetics of Mimesis. Ancient Texts and Modern Problems
1978:
Mimesis: The Representation of Reality in Western Literature
1673:. Peter Demetz. New York: Schocken Books. pp. 333–335.
1643:
Mimesis: The Representation of Reality in Western Literature
1254:
Mimesis: The Representation of Reality in Western Literature
702:
Mimesis: The Representation of Reality in Western Literature
223:
Mimesis: The Representation of Reality in Western Literature
2347:(Research on Poetics & Rhetorics in Catalan Literature)
2081:, edited by R. Doran. Stanford: Stanford University Press.
82:
1348:
Dialectic of enlightenment : philosophical fragments
457:" and so being removed to a less ideal situation in more
70:
55:
2287:
Mimesis and Alterity: A Particular History of the Senses
618:
in the 1st century BC, who conceived it as technique of
522:
examines the style of poetry (the term includes comedy,
546:
is wholly narrative; and their combination is found in
810:
is suspect, and he argues this from both sides in his
3202:
The Work of Art in the Age of Mechanical Reproduction
2338:
The University of Chicago, Theories of Media Keywords
73:
67:
855:
outlines the way that mimesis, called "Mimickry" by
7203:
7143:
7072:
7052:
7001:
6924:
6917:
6820:
6804:
6756:
6735:
6701:
6685:
6647:
6609:
6566:
6557:
6342:
6316:
5932:
5886:
5840:
5787:
5748:
5702:
5565:
5488:
5440:
5390:
5287:
5212:
5184:
5136:
5127:
5082:
4999:
4956:
4914:
4868:
4720:
4713:
4527:
4499:
4434:
4178:
4069:
3967:
3872:
3807:
3730:
3542:
3405:
3254:
3103:
2876:
2583:
2495:
2429:
2176:
Mimesis and Reason: Habermas's Political Philosophy
1472:
See also, Pfister (1977, pp. 2–3); and Elam (1980):
1310:Benjamin, Walter (1970). "On the Mimetic Faculty".
154:
144:
79:
61:
58:
52:
6796:On Youth, Old Age, Life and Death, and Respiration
1915:. Richard Dixon. New York. pp. 3–28, 97–156.
19:"Mimetic" redirects here. Not to be confused with
1727:. Stanford University Press. pp. 7, 26, 307.
2012:The Poetry of Philosophy: On Aristotle's Poetics
1725:Things Hidden Since the Foundation of the World
1473:
1100:
829:Things Hidden Since the Foundation of the World
672:
482:It was also Plato and Aristotle who contrasted
466:
2265:A History of Six Ideas: An Essay in Aesthetics
6294:
5976:
5680:
5000:Cinema / television / video
4690:
3383:
2407:
2322:Plato's Republic III, transl. Benjamin Jowett
1744:. Richard Dixon. New York. pp. 137–139.
8:
5534:Palimpsests: Literature in the Second Degree
3132:The Literary Mind and the Carving of Dragons
2317:Plato's Republic II, transl. Benjamin Jowett
2059:Gebauer, Gunter, and Christoph Wulf. 1995.
1591:
1589:
1587:
2327:Plato's Republic X, transl. Benjamin Jowett
786:). He describes how a legendary tribe, the
614:of imitation as formulated by Greek author
7140:
7069:
7049:
6998:
6921:
6563:
6301:
6287:
6279:
5983:
5969:
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5687:
5673:
5665:
5133:
4920:
4717:
4697:
4683:
4675:
3390:
3376:
3368:
2414:
2400:
2392:
2127:Typography: Mimesis, Philosophy, Politics,
1943:: CS1 maint: location missing publisher (
1772:: CS1 maint: location missing publisher (
1379:: CS1 maint: location missing publisher (
2161:Homo Mimeticus: A New Theory of Imitation
1646:. Princeton: Princeton University Press.
1477:
1257:. Princeton: Princeton University Press.
898:who died during an attempt to escape the
732:outlines connections between mimesis and
658:, the concept of mimesis was crucial for
205:eventually shifted toward a specifically
2382:Online Encyclopedia Philosophy of Nature
1281:. D. W. Lucas. Oxford: Clarendon Press.
2029:, New Accents series. London: Methuen.
1172:
987:
4061:Types of fiction with multiple endings
1936:
1765:
1567:Giner-Sorolla, Roger (29 April 2006).
1551:Giner-Sorolla, Roger (25 April 2006).
1535:Giner-Sorolla, Roger (18 April 2006).
1519:Giner-Sorolla, Roger (11 April 2006).
1372:
1231:
1220:
1662:
1660:
1060:
1058:
1056:
453:as "falling from a higher to a lower
236:and the way it appears in the Bible.
7:
7309:Concepts in ancient Greek aesthetics
6850:On Melissus, Xenophanes, and Gorgias
5992:Ancient Greek philosophical concepts
2014:. South Bend, IN: St Augustine's P.
159:, 'to imitate'), itself coming from
2231:. Calcutta: University of Calcutta.
1493:Giner-Sorolla, Roger (April 2006).
538:) and imitation or representation (
209:function in ancient Greek society.
16:Communication by means of imitation
7211:Transmission of the Greek Classics
2027:The Semiotics of Theatre and Drama
14:
6885:The Situations and Names of Winds
4464:Third-person omniscient narrative
2148:East Lansing: Michigan State UP.
2125:Lacoue-Labarthe, Philippe. 1989.
736:, imagining a possible origin of
132:, the act of resembling, and the
7271:
7261:
7260:
3350:
2238:. Calcutta: Syamaprasad College.
2190:The Theory and Analysis of Drama
1569:"Crimes Against Mimesis, Part 4"
1553:"Crimes Against Mimesis, Part 3"
1537:"Crimes Against Mimesis, Part 2"
1521:"Crimes Against Mimesis, Part 1"
1182:Longman Pronunciation Dictionary
352:(Books II, III, and X). In
139:The original Ancient Greek term
48:
6791:On Length and Shortness of Life
2271:. The Hague: Martinus Nijhoff.
6441:
6381:Correspondence theory of truth
3852:Conflict between good and evil
2373:Dictionary of History of Ideas
1819:. Verso. pp. 9–20 et al.
887:Dialectic of the Enlightenment
1:
6727:Constitution of the Athenians
5463:Pierre Menard, Author of the
5309:Archetypal literary criticism
4869:Literature / theatre
2332:The Infinite Regress of Forms
2041:Esposito, Mariangela (2023).
915:written immediately prior to
6629:On Generation and Corruption
5275:Source criticism in the arts
4943:Readymades of Marcel Duchamp
3262:Aestheticization of politics
2174:Miller, Gregg Daniel. 2011.
2061:Mimesis: Culture—Art—Society
1613:Coleridge, Samuel T. 1983.
1394:Taussig, Michael T. (1993).
5940:Articulation (sociological)
5476:Reality Hunger: A Manifesto
2114:. Princeton: Princeton UP.
1981:. Princeton: Princeton UP.
1431:Quarterly Journal of Speech
1203:Gebauer and Wulf (1992, 1).
492:(Greek: διήγησις). Mimesis
7375:
6870:On Marvellous Things Heard
6489:Potentiality and actuality
5582:Appropriation in sociology
2178:. Albany, NY: SUNY Press.
2092:Halliwell, Stephen. 2002.
1816:Dialectic of Enlightenment
1595:Ruthven (1979) pp. 103–104
760:
637:and discarded Aristotle's
616:Dionysius of Halicarnassus
599:
405:in nature. The first, the
155:
145:
116:, nonsensuous similarity,
95:
33:
18:
7256:
7233:Commentaries on Aristotle
5998:
5587:Articulation in sociology
5110:Revivalism (architecture)
4923:
4491:Stream of unconsciousness
4022:Falling action/Catastasis
3330:
2203:Potolsky, Matthew. 2006.
2188:Pfister, Manfred. 1988.
2133:. Cambridge: Harvard UP.
2045:. Leiden; Boston: Brill.
1909:Calasso, Roberto (2020).
1848:Benjamin, Walter (1968).
1787:Goebbels, Joseph (1941).
1738:Calasso, Roberto (2019).
1713:Taussig, 1993, pp. 47–48.
1667:Benjamin, Walter (1986).
1184:(3rd ed.), Longman,
767:Appropriation (sociology)
571:, and according to their
167:, 'imitator, actor'). In
5299:Aesthetic interpretation
3859:Self-fulfilling prophecy
2357:23 February 2020 at the
2343:University of Barcelona
1813:Adorno, Theodor (1944).
1495:"Crimes Against Mimesis"
1345:Horkheimer, Max (2002).
512:In Book III of his
293:Philippe Lacoue-Labarthe
134:presentation of the self
36:Mimesis (disambiguation)
6601:Sophistical Refutations
5541:The Pictures Generation
5320:The Death of the Author
4486:Stream of consciousness
3949:Suspension of disbelief
3282:Evolutionary aesthetics
3232:The Aesthetic Dimension
2261:Tatarkiewicz, Władysław
1400:. New York: Routledge.
1180:Wells, John C. (2008),
945:Similarity (philosophy)
660:Samuel Taylor Coleridge
650:Samuel Taylor Coleridge
249:Samuel Taylor Coleridge
6786:On Divination in Sleep
6472:Horror vacui (physics)
5612:Copyright infringement
5592:Cultural appropriation
4027:Denouement/Catastrophe
4008:Rising action/Epitasis
3212:Avant-Garde and Kitsch
3162:Lectures on Aesthetics
2369:Władysław Tatarkiewicz
2159:Lawtoo, Nidesh. 2022.
2144:Lawtoo, Nidesh. 2013.
2112:Tragedy and Philosophy
2010:Davis, Michael. 1999.
1483:
1443:10.1080/00335630308178
1230:Cite journal requires
1127:. (Also available via
1107:
1095:. (Also available via
848:The Unnameable Present
763:Cultural appropriation
726:On The Mimetic Faculty
677:
475:
197:, or narrative. After
7299:Ancient Greek theatre
7278:Philosophy portal
6900:Rhetoric to Alexander
5639:Participatory culture
5607:Intellectual property
4373:Utopian and dystopian
3357:Philosophy portal
2289:. London: Routledge.
2241:Sörbom, Göran. 1966.
1741:The unnamable present
1723:Girard, René (1987).
918:The Unnamable Present
814:to see values in the
761:Further information:
567:, according to their
315:Classical definitions
6989:Andronicus of Rhodes
6890:On Virtues and Vices
6845:On Indivisible Lines
6766:Sense and Sensibilia
6736:Rhetoric and poetics
6549:mathematical realism
5696:Literary composition
5314:Artistic inspiration
5138:Intertextual figures
5105:Parody advertisement
3927:Narrative techniques
3707:Story within a story
3519:Supporting character
3302:Philosophy of design
3182:In Praise of Shadows
3172:The Critic as Artist
1997:Biographia Literaria
1993:Coleridge, Samuel T.
1912:The celestial hunter
1616:Biographia Literaria
1213:Halliwell, Stephen.
911:The Celestial Hunter
812:Mimesis and Alterity
773:Mimesis and Alterity
478:Contrast to diegesis
364:account of the Forms
102:) is a term used in
34:For other uses, see
6959:Strato of Lampsacus
6591:Posterior Analytics
6343:Ideas and interests
5945:Composition studies
5894:Creative nonfiction
5759:Linguistic contrast
5752: / devices
5649:Recontextualisation
5602:Information society
5597:History of printing
5577:Academic dishonesty
5338:Genius (literature)
5027:Literal music video
4938:Photographic mosaic
4733:Chopped and screwed
4632:Political narrative
4474:Unreliable narrator
4331:Speculative fiction
4039:Nonlinear narrative
3987:Three-act structure
3847:Deal with the Devil
3312:Philosophy of music
3287:Mathematical beauty
2303:Classical Quarterly
2207:London: Routledge.
2163:Leuven: Leuven UP.
1793:research.calvin.edu
951:Man, Play and Games
654:Referring to it as
610:is the influential
369:In Book II of
332:saw in mimesis the
7359:Visual arts theory
7003:Islamic Golden Age
6926:Peripatetic school
6712:Nicomachean Ethics
6407:Future contingents
5326:Divine inspiration
5115:Video game modding
4957:By source material
4610:Narrative paradigm
4605:Narrative identity
4535:Dominant narrative
4481:Multiple narrators
3765:Fictional location
3608:Dramatic structure
3307:Philosophy of film
3297:Patterns in nature
3267:Applied aesthetics
3242:Why Beauty Matters
3028:Life imitating art
2889:Art for art's sake
2025:Elam, Keir. 1980.
1275:Aristotle (1968).
972:Dionysian imitatio
681:William Wordsworth
602:Dionysian imitatio
518:(c. 373 BC),
373:, Plato describes
104:literary criticism
7319:Muses (mythology)
7286:
7285:
7238:Metabasis paradox
7199:
7198:
7139:
7138:
7126:Pietro Pomponazzi
7068:
7067:
7048:
7047:
6997:
6996:
6949:Eudemus of Rhodes
6939:Clearchus of Soli
6913:
6912:
6581:On Interpretation
6524:Temporal finitism
6412:Genus–differentia
6369:Category of being
6276:
6275:
6047:(first principle)
5958:
5957:
5950:Technical writing
5764:Literary contrast
5662:
5661:
5569:artistic concepts
5557:Russian formalism
5283:
5282:
5123:
5122:
5012:Anime music video
4995:
4994:
4987:Statue of Liberty
4785:Musical quotation
4728:Bootleg recording
4672:
4671:
4615:Narrative therapy
4049:television series
3994:Freytag's Pyramid
3837:Moral development
3740:Alternate history
3450:False protagonist
3365:
3364:
3317:Psychology of art
3192:Art as Experience
2227:Sen, R. K. 1966.
1129:Project Gutenberg
1097:Project Gutenberg
983:Classical sources
967:Mimesis criticism
749:Belgian feminist
734:sympathetic magic
662:'s theory of the
289:Nikolas Kompridis
201:, the meaning of
7366:
7339:Plot (narrative)
7276:
7275:
7274:
7264:
7263:
7141:
7121:Jacopo Zabarella
7070:
7050:
6999:
6979:Diodorus of Tyre
6922:
6564:
6494:Substance theory
6455:Moderate realism
6449:Minima naturalia
6350:Active intellect
6303:
6296:
6289:
6280:
6268:
6258:
6248:
6238:
6228:
6218:
6208:
6198:
6188:
6178:
6168:
6158:
6148:
6138:
6128:
6118:
6108:
6098:
6088:
6078:
6068:
6058:
6048:
6038:
6028:
6018:
6008:
5985:
5978:
5971:
5962:
5868:Rhetorical modes
5858:Grammatical mood
5812:Cut-up technique
5710:Characterization
5689:
5682:
5675:
5666:
5481:
5471:
5458:
5289:Related artistic
5255:Imitation in art
5225:Assemblage (art)
5134:
4933:Combine painting
4921:
4906:Verbatim theatre
4881:Cut-up technique
4780:Music plagiarism
4718:
4699:
4692:
4685:
4676:
4595:Literary science
4138:Narrative poetry
4034:Linear narrative
3944:Stylistic device
3939:Show, don't tell
3902:Figure of speech
3692:Shaggy dog story
3435:Characterization
3392:
3385:
3378:
3369:
3355:
3354:
3353:
3247:
3237:
3227:
3217:
3207:
3197:
3187:
3177:
3167:
3157:
3147:
3137:
3127:
3117:
2416:
2409:
2402:
2393:
2367:, an article by
2283:Taussig, Michael
2267:, translated by
2108:Kaufmann, Walter
2056:
1961:
1955:
1949:
1948:
1942:
1934:
1906:
1900:
1899:
1897:
1895:
1880:
1874:
1873:
1845:
1839:
1838:
1810:
1804:
1803:
1801:
1799:
1784:
1778:
1777:
1771:
1763:
1735:
1729:
1728:
1720:
1714:
1711:
1705:
1699:
1693:
1692:
1664:
1655:
1635:
1629:
1611:
1605:
1602:
1596:
1593:
1582:
1579:
1577:
1575:
1563:
1561:
1559:
1547:
1545:
1543:
1531:
1529:
1527:
1510:
1508:
1506:
1497:. Archived from
1490:
1484:
1470:
1464:
1463:Davis (1993, 3).
1461:
1455:
1454:
1426:
1420:
1419:
1391:
1385:
1384:
1378:
1370:
1342:
1336:
1335:
1316:. London: Cape.
1307:
1301:
1300:
1272:
1266:
1246:
1240:
1239:
1233:
1228:
1226:
1218:
1210:
1204:
1201:
1195:
1194:
1177:
1162:
1153:
1147:
1138:
1132:
1123:, translated by
1114:
1108:
1091:, translated by
1082:
1076:
1071:, translated by
1062:
1051:
1046:, translated by
1037:
1031:
1022:
1016:
1007:
1001:
992:
179:, and the good.
158:
157:
148:
147:
97:
89:
88:
85:
84:
81:
76:
75:
72:
69:
66:
63:
60:
57:
54:
7374:
7373:
7369:
7368:
7367:
7365:
7364:
7363:
7334:Play (activity)
7304:Aristotelianism
7289:
7288:
7287:
7282:
7272:
7270:
7252:
7195:
7135:
7131:Cesar Cremonini
7087:Albertus Magnus
7064:
7044:
6993:
6909:
6865:Physiognomonics
6860:On Things Heard
6855:On the Universe
6816:
6800:
6758:Parva Naturalia
6752:
6731:
6717:Eudemian Ethics
6697:
6681:
6643:
6605:
6586:Prior Analytics
6553:
6477:Rational animal
6338:
6312:
6310:Aristotelianism
6307:
6277:
6272:
6266:
6256:
6246:
6236:
6226:
6216:
6206:
6196:
6186:
6176:
6166:
6156:
6146:
6136:
6126:
6116:
6106:
6096:
6086:
6076:
6066:
6056:
6046:
6036:
6026:
6016:
6006:
5994:
5989:
5959:
5954:
5933:Beyond the arts
5928:
5882:
5836:
5795:Writing process
5783:
5744:
5725:Fiction writing
5698:
5693:
5663:
5658:
5644:Pirate politics
5617:Derivative work
5570:
5568:
5561:
5484:
5479:
5469:
5456:
5445:
5443:
5436:
5432:Story structure
5427:Stock character
5407:Formula fiction
5395:
5393:
5392:Standard blocks
5386:
5292:
5290:
5279:
5208:
5180:
5129:
5119:
5078:
5007:Abridged series
4991:
4979:Michelangelo's
4971:Michelangelo's
4952:
4917:
4910:
4896:Jukebox musical
4864:
4709:
4703:
4673:
4668:
4600:Literary theory
4540:Fiction writing
4523:
4495:
4430:
4182:
4174:
4065:
3963:
3868:
3803:
3726:
3597:Deus ex machina
3538:
3524:Title character
3509:Stock character
3455:Focal character
3401:
3396:
3366:
3361:
3351:
3349:
3326:
3250:
3245:
3235:
3225:
3222:Critical Essays
3215:
3205:
3195:
3185:
3175:
3165:
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3145:
3135:
3125:
3115:
3099:
2872:
2786:Ortega y Gasset
2579:
2491:
2425:
2420:
2359:Wayback Machine
2313:
2243:Mimesis and Art
2053:
2040:
1973:Auerbach, Erich
1969:
1964:
1956:
1952:
1935:
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1638:Auerbach, Erich
1636:
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1608:
1603:
1599:
1594:
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1502:
1501:on 19 June 2005
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1249:Auerbach, Erich
1247:
1243:
1229:
1219:
1212:
1211:
1207:
1202:
1198:
1192:
1179:
1178:
1174:
1170:
1165:
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1150:
1139:
1135:
1116:Plato, 360 BC,
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1111:
1103:
1083:
1079:
1063:
1054:
1038:
1034:
1023:
1019:
1008:
1004:
993:
989:
985:
980:
941:
929:
896:Walter Benjamin
857:Joseph Goebbels
843:
841:Roberto Calasso
824:
816:anthropologists
788:"White Indians"
780:Michael Taussig
769:
759:
757:Michael Taussig
747:
730:Walter Benjamin
724:In his essay, "
722:
720:Walter Benjamin
689:
652:
647:
612:literary method
604:
598:
480:
398:
322:
317:
309:Roberto Calasso
297:Michael Taussig
281:Jacques Derrida
265:Walter Benjamin
149:) derives from
78:
51:
47:
39:
32:
21:Mimetic muscles
17:
12:
11:
5:
7372:
7370:
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7284:
7283:
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7280:
7268:
7257:
7254:
7253:
7251:
7250:
7245:
7243:Views on women
7240:
7235:
7230:
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7223:
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7207:
7205:
7204:Related topics
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7116:Peter of Spain
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7092:Thomas Aquinas
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6822:Pseudepigrapha
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5853:Writer's voice
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5740:Writer's block
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5706:
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5703:General topics
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5502:De Copia Rerum
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5459:
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5213:Other concepts
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5049:
5039:
5037:Re-cut trailer
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5009:
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4805:Plunderphonics
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4664:Verisimilitude
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4567:Parallel novel
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4211:
4209:Action fiction
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3990:
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3728:
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3725:
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3719:
3714:
3709:
3704:
3699:
3694:
3689:
3687:Self-insertion
3684:
3679:
3674:
3672:Poetic justice
3669:
3664:
3659:
3654:
3649:
3642:
3635:
3630:
3625:
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3615:
3610:
3605:
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3516:
3511:
3506:
3501:
3496:
3495:
3494:
3489:
3484:
3474:
3467:
3462:
3457:
3452:
3447:
3442:
3437:
3432:
3430:Character flaw
3427:
3422:
3417:
3411:
3409:
3403:
3402:
3397:
3395:
3394:
3387:
3380:
3372:
3363:
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3359:
3347:
3342:
3337:
3331:
3328:
3327:
3325:
3324:
3319:
3314:
3309:
3304:
3299:
3294:
3292:Neuroesthetics
3289:
3284:
3279:
3274:
3272:Arts criticism
3269:
3264:
3258:
3256:
3252:
3251:
3249:
3248:
3238:
3228:
3218:
3208:
3198:
3188:
3178:
3168:
3158:
3148:
3142:On the Sublime
3138:
3128:
3118:
3107:
3105:
3101:
3100:
3098:
3097:
3092:
3087:
3082:
3077:
3072:
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3062:
3055:
3050:
3045:
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3030:
3025:
3020:
3013:
3008:
3006:Interpretation
3003:
2998:
2993:
2988:
2983:
2978:
2973:
2968:
2963:
2958:
2953:
2948:
2943:
2938:
2933:
2928:
2923:
2922:
2921:
2916:
2906:
2901:
2899:Artistic merit
2896:
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2878:
2874:
2873:
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2638:
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2628:
2623:
2618:
2613:
2608:
2603:
2598:
2593:
2587:
2585:
2581:
2580:
2578:
2577:
2570:
2565:
2560:
2555:
2550:
2548:Psychoanalysis
2545:
2540:
2535:
2530:
2525:
2520:
2515:
2510:
2505:
2499:
2497:
2493:
2492:
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2396:
2390:
2389:
2375:
2362:
2349:
2340:
2335:
2329:
2324:
2319:
2312:
2311:External links
2309:
2308:
2307:
2298:
2280:
2258:
2246:
2239:
2232:
2225:
2224:(182):375–396.
2216:
2201:
2186:
2184:978-1438437408
2172:
2169:978-9462703469
2157:
2154:978-1611860962
2142:
2139:978-0804732826
2123:
2105:
2090:
2087:978-0804755801
2072:
2057:
2051:
2038:
2023:
2008:
1990:
1968:
1965:
1963:
1962:
1950:
1922:978-0374120061
1921:
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1751:978-0374279479
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1358:978-0804788090
1357:
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1302:
1287:
1267:
1241:
1232:|journal=
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1002:
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956:Roger Caillois
947:
940:
937:
933:Homo Mimeticus
928:
925:
842:
839:
823:
820:
777:anthropologist
758:
755:
746:
743:
721:
718:
697:Erich Auerbach
688:
687:Erich Auerbach
685:
651:
648:
646:
643:
629:formulated by
600:Main article:
597:
591:
496:, rather than
479:
476:
397:
394:
382:Platonic ideal
334:representation
321:
318:
316:
313:
269:Theodor Adorno
218:Erich Auerbach
169:ancient Greece
122:representation
29:Mimetic theory
15:
13:
10:
9:
6:
4:
3:
2:
7371:
7360:
7357:
7355:
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7350:
7347:
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7300:
7297:
7296:
7294:
7279:
7269:
7267:
7259:
7258:
7255:
7249:
7248:Wheel paradox
7246:
7244:
7241:
7239:
7236:
7234:
7231:
7229:
7226:
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7219:
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7159:
7157:
7156:Trendelenburg
7154:
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7142:
7132:
7129:
7127:
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7106:
7105:
7102:
7098:
7095:
7094:
7093:
7090:
7088:
7085:
7083:
7082:Peter Lombard
7080:
7079:
7077:
7075:
7074:Scholasticism
7071:
7061:
7058:
7057:
7055:
7051:
7039:
7036:
7035:
7034:
7031:
7027:
7024:
7023:
7022:
7019:
7017:
7014:
7012:
7009:
7008:
7006:
7004:
7000:
6990:
6987:
6985:
6982:
6980:
6977:
6975:
6972:
6970:
6967:
6965:
6964:Lyco of Troas
6962:
6960:
6957:
6955:
6952:
6950:
6947:
6945:
6942:
6940:
6937:
6935:
6932:
6931:
6929:
6927:
6923:
6920:
6916:
6906:
6905:Magna Moralia
6903:
6901:
6898:
6896:
6893:
6891:
6888:
6886:
6883:
6881:
6878:
6876:
6873:
6871:
6868:
6866:
6863:
6861:
6858:
6856:
6853:
6851:
6848:
6846:
6843:
6841:
6838:
6836:
6833:
6831:
6828:
6827:
6825:
6823:
6819:
6813:
6810:
6809:
6807:
6803:
6797:
6794:
6792:
6789:
6787:
6784:
6782:
6779:
6777:
6774:
6772:
6769:
6767:
6764:
6763:
6761:
6759:
6755:
6749:
6746:
6744:
6741:
6740:
6738:
6734:
6728:
6725:
6723:
6720:
6718:
6715:
6713:
6710:
6709:
6707:
6704:
6700:
6694:
6691:
6690:
6688:
6684:
6678:
6675:
6673:
6670:
6668:
6665:
6663:
6660:
6658:
6655:
6654:
6652:
6650:
6646:
6640:
6637:
6635:
6632:
6630:
6627:
6625:
6622:
6620:
6617:
6616:
6614:
6612:
6608:
6602:
6599:
6597:
6594:
6592:
6589:
6587:
6584:
6582:
6579:
6577:
6574:
6573:
6571:
6569:
6565:
6562:
6560:
6556:
6550:
6547:
6545:
6544:Virtue ethics
6542:
6540:
6539:Unmoved mover
6537:
6535:
6532:
6530:
6527:
6525:
6522:
6520:
6519:
6515:
6513:
6510:
6507:
6506:
6501:
6500:
6495:
6492:
6490:
6487:
6485:
6484:
6480:
6478:
6475:
6473:
6470:
6468:
6467:
6463:
6461:
6458:
6456:
6453:
6451:
6450:
6446:
6444:
6443:
6439:
6437:
6434:
6432:
6431:
6427:
6425:
6422:
6420:
6419:
6415:
6413:
6410:
6408:
6405:
6403:
6400:
6398:
6397:
6393:
6391:
6387:
6384:
6382:
6379:
6377:
6376:
6372:
6370:
6367:
6365:
6364:
6360:
6358:
6357:
6353:
6351:
6348:
6347:
6345:
6341:
6335:
6332:
6330:
6327:
6325:
6322:
6321:
6319:
6315:
6311:
6304:
6299:
6297:
6292:
6290:
6285:
6284:
6281:
6269:
6265:
6261:
6259:
6255:
6251:
6249:
6245:
6241:
6239:
6235:
6231:
6229:
6225:
6221:
6219:
6215:
6211:
6209:
6205:
6201:
6199:
6195:
6191:
6189:
6185:
6181:
6179:
6175:
6171:
6169:
6165:
6161:
6159:
6155:
6151:
6149:
6145:
6141:
6139:
6135:
6131:
6129:
6127:(flourishing)
6125:
6121:
6119:
6115:
6111:
6109:
6105:
6101:
6099:
6095:
6091:
6089:
6085:
6081:
6079:
6075:
6071:
6069:
6067:(tranquility)
6065:
6061:
6059:
6055:
6051:
6049:
6045:
6041:
6039:
6035:
6031:
6029:
6025:
6021:
6019:
6015:
6011:
6009:
6007:(indifferent)
6005:
6001:
6000:
5997:
5993:
5986:
5981:
5979:
5974:
5972:
5967:
5966:
5963:
5951:
5948:
5946:
5943:
5941:
5938:
5937:
5935:
5931:
5925:
5922:
5920:
5917:
5915:
5912:
5910:
5907:
5905:
5902:
5900:
5897:
5895:
5892:
5891:
5889:
5885:
5879:
5876:
5874:
5871:
5869:
5866:
5864:
5861:
5859:
5856:
5854:
5851:
5849:
5848:Writing style
5846:
5845:
5843:
5839:
5833:
5830:
5828:
5825:
5823:
5820:
5818:
5815:
5813:
5810:
5808:
5805:
5801:
5798:
5797:
5796:
5793:
5792:
5790:
5786:
5780:
5777:
5775:
5772:
5770:
5767:
5765:
5762:
5760:
5757:
5756:
5754:
5751:
5747:
5741:
5738:
5736:
5733:
5731:
5728:
5726:
5723:
5721:
5718:
5716:
5713:
5711:
5708:
5707:
5705:
5701:
5697:
5690:
5685:
5683:
5678:
5676:
5671:
5670:
5667:
5655:
5654:Remix culture
5652:
5650:
5647:
5645:
5642:
5640:
5637:
5635:
5632:
5630:
5627:
5623:
5620:
5618:
5615:
5613:
5610:
5609:
5608:
5605:
5603:
5600:
5598:
5595:
5593:
5590:
5588:
5585:
5583:
5580:
5578:
5575:
5574:
5572:
5564:
5558:
5555:
5553:
5552:Postmodernism
5550:
5548:
5545:
5543:
5542:
5538:
5536:
5535:
5531:
5529:
5528:
5524:
5522:
5519:
5517:
5516:
5511:
5509:
5506:
5504:
5503:
5499:
5497:
5494:
5493:
5491:
5487:
5478:
5477:
5473:
5467:
5466:
5460:
5455:
5454:
5450:
5449:
5447:
5442:Epoch-marking
5439:
5433:
5430:
5428:
5425:
5423:
5420:
5418:
5417:Jazz standard
5415:
5413:
5412:Genre fiction
5410:
5408:
5405:
5403:
5400:
5399:
5397:
5389:
5383:
5382:Western canon
5380:
5378:
5375:
5373:
5370:
5368:
5367:Genre studies
5365:
5363:
5360:
5356:
5353:
5352:
5351:
5348:
5344:
5341:
5339:
5336:
5334:
5333:
5329:
5328:
5327:
5324:
5321:
5317:
5315:
5312:
5310:
5307:
5305:
5302:
5300:
5297:
5296:
5294:
5286:
5276:
5273:
5271:
5268:
5266:
5263:
5261:
5258:
5256:
5253:
5251:
5248:
5246:
5243:
5241:
5238:
5236:
5233:
5231:
5228:
5226:
5223:
5221:
5218:
5217:
5215:
5211:
5205:
5202:
5200:
5197:
5195:
5192:
5191:
5189:
5187:
5183:
5177:
5174:
5172:
5169:
5167:
5164:
5162:
5159:
5157:
5154:
5152:
5149:
5147:
5144:
5143:
5141:
5139:
5135:
5132:
5126:
5116:
5113:
5111:
5108:
5106:
5103:
5101:
5098:
5096:
5095:Internet meme
5093:
5091:
5088:
5087:
5085:
5081:
5075:
5072:
5070:
5067:
5065:
5062:
5060:
5057:
5055:
5052:
5048:
5047:Shot-for-shot
5045:
5044:
5043:
5040:
5038:
5035:
5033:
5030:
5028:
5025:
5023:
5022:Found footage
5020:
5018:
5015:
5013:
5010:
5008:
5005:
5004:
5002:
4998:
4988:
4985:
4983:
4982:
4977:
4975:
4974:
4969:
4967:
4966:
4962:
4961:
4959:
4955:
4949:
4946:
4944:
4941:
4939:
4936:
4934:
4931:
4929:
4926:
4925:
4922:
4919:
4913:
4907:
4904:
4902:
4899:
4897:
4894:
4892:
4889:
4887:
4884:
4882:
4879:
4877:
4874:
4873:
4871:
4867:
4861:
4858:
4856:
4853:
4851:
4848:
4846:
4843:
4841:
4838:
4836:
4835:Sound collage
4833:
4831:
4828:
4826:
4823:
4821:
4818:
4816:
4813:
4811:
4808:
4806:
4803:
4801:
4798:
4796:
4793:
4791:
4788:
4786:
4783:
4781:
4778:
4776:
4773:
4771:
4768:
4766:
4765:Interpolation
4763:
4761:
4758:
4756:
4755:Cover version
4753:
4751:
4748:
4744:
4741:
4740:
4739:
4736:
4734:
4731:
4729:
4726:
4725:
4723:
4719:
4716:
4712:
4707:
4706:Appropriation
4700:
4695:
4693:
4688:
4686:
4681:
4680:
4677:
4665:
4662:
4660:
4657:
4655:
4652:
4650:
4649:Screenwriting
4647:
4643:
4640:
4639:
4638:
4635:
4633:
4630:
4626:
4623:
4622:
4621:
4618:
4616:
4613:
4611:
4608:
4606:
4603:
4601:
4598:
4596:
4593:
4589:
4586:
4585:
4584:
4581:
4577:
4573:
4570:
4568:
4565:
4561:
4558:
4556:
4553:
4551:
4548:
4547:
4546:
4543:
4542:
4541:
4538:
4536:
4533:
4532:
4530:
4526:
4520:
4517:
4515:
4512:
4510:
4507:
4506:
4504:
4502:
4498:
4492:
4489:
4487:
4484:
4482:
4479:
4475:
4472:
4470:
4467:
4465:
4462:
4461:
4460:
4457:
4455:
4454:Second-person
4452:
4450:
4447:
4445:
4442:
4441:
4439:
4437:
4433:
4425:
4422:
4420:
4417:
4416:
4415:
4412:
4408:
4405:
4403:
4400:
4398:
4395:
4393:
4390:
4386:
4383:
4379:
4376:
4374:
4371:
4369:
4366:
4365:
4364:
4361:
4359:
4358:Magic realism
4356:
4354:
4351:
4347:
4344:
4343:
4342:
4339:
4337:
4334:
4333:
4332:
4329:
4327:
4324:
4322:
4319:
4315:
4312:
4310:
4307:
4306:
4305:
4302:
4300:
4297:
4295:
4292:
4290:
4289:Psychological
4287:
4285:
4282:
4280:
4277:
4275:
4272:
4270:
4269:Philosophical
4267:
4265:
4262:
4260:
4257:
4255:
4252:
4250:
4247:
4245:
4242:
4240:
4237:
4235:
4232:
4230:
4227:
4225:
4222:
4220:
4217:
4215:
4212:
4210:
4207:
4206:
4205:
4202:
4200:
4197:
4195:
4194:Autobiography
4192:
4191:
4189:
4186:
4181:
4177:
4171:
4168:
4166:
4163:
4161:
4158:
4156:
4153:
4151:
4148:
4144:
4141:
4140:
4139:
4136:
4134:
4133:Narrative art
4131:
4129:
4126:
4122:
4119:
4117:
4114:
4112:
4109:
4107:
4104:
4102:
4099:
4098:
4097:
4094:
4092:
4091:Flash fiction
4089:
4087:
4086:
4082:
4080:
4077:
4076:
4074:
4072:
4068:
4062:
4059:
4057:
4054:
4050:
4047:
4045:
4042:
4041:
4040:
4037:
4035:
4032:
4028:
4025:
4023:
4020:
4018:
4014:
4011:
4009:
4006:
4004:
4000:
3997:
3996:
3995:
3992:
3988:
3985:
3983:
3982:Act structure
3980:
3979:
3978:
3975:
3974:
3972:
3970:
3966:
3960:
3957:
3955:
3952:
3950:
3947:
3945:
3942:
3940:
3937:
3933:
3930:
3929:
3928:
3925:
3923:
3920:
3918:
3915:
3913:
3910:
3908:
3905:
3903:
3900:
3898:
3895:
3893:
3890:
3888:
3885:
3883:
3880:
3879:
3877:
3875:
3871:
3865:
3862:
3860:
3857:
3853:
3850:
3848:
3845:
3844:
3843:
3840:
3838:
3835:
3833:
3830:
3828:
3825:
3823:
3820:
3818:
3815:
3814:
3812:
3810:
3806:
3800:
3799:Worldbuilding
3797:
3795:
3792:
3786:
3783:
3782:
3781:
3778:
3776:
3773:
3771:
3768:
3767:
3766:
3763:
3761:
3758:
3756:
3753:
3751:
3748:
3746:
3743:
3741:
3738:
3737:
3735:
3733:
3729:
3723:
3720:
3718:
3715:
3713:
3710:
3708:
3705:
3703:
3700:
3698:
3695:
3693:
3690:
3688:
3685:
3683:
3680:
3678:
3675:
3673:
3670:
3668:
3665:
3663:
3660:
3658:
3655:
3653:
3650:
3648:
3647:
3646:Kishōtenketsu
3643:
3641:
3640:
3639:In medias res
3636:
3634:
3631:
3629:
3626:
3624:
3621:
3619:
3618:Foreshadowing
3616:
3614:
3613:Eucatastrophe
3611:
3609:
3606:
3604:
3601:
3599:
3598:
3594:
3592:
3589:
3587:
3584:
3582:
3579:
3577:
3576:Chekhov's gun
3574:
3570:
3567:
3566:
3565:
3562:
3560:
3557:
3555:
3554:
3550:
3549:
3547:
3545:
3541:
3535:
3532:
3530:
3527:
3525:
3522:
3520:
3517:
3515:
3512:
3510:
3507:
3505:
3502:
3500:
3497:
3493:
3490:
3488:
3485:
3483:
3480:
3479:
3478:
3475:
3473:
3472:
3468:
3466:
3465:Gothic double
3463:
3461:
3458:
3456:
3453:
3451:
3448:
3446:
3445:Deuteragonist
3443:
3441:
3438:
3436:
3433:
3431:
3428:
3426:
3425:Character arc
3423:
3421:
3418:
3416:
3413:
3412:
3410:
3408:
3404:
3400:
3393:
3388:
3386:
3381:
3379:
3374:
3373:
3370:
3358:
3348:
3346:
3343:
3341:
3338:
3336:
3333:
3332:
3329:
3323:
3322:Theory of art
3320:
3318:
3315:
3313:
3310:
3308:
3305:
3303:
3300:
3298:
3295:
3293:
3290:
3288:
3285:
3283:
3280:
3278:
3275:
3273:
3270:
3268:
3265:
3263:
3260:
3259:
3257:
3253:
3244:
3243:
3239:
3234:
3233:
3229:
3224:
3223:
3219:
3213:
3209:
3203:
3199:
3194:
3193:
3189:
3184:
3183:
3179:
3173:
3169:
3164:
3163:
3159:
3154:
3153:
3149:
3144:
3143:
3139:
3134:
3133:
3129:
3124:
3123:
3119:
3114:
3113:
3112:Hippias Major
3109:
3108:
3106:
3102:
3096:
3093:
3091:
3088:
3086:
3083:
3081:
3078:
3076:
3073:
3071:
3068:
3066:
3063:
3061:
3060:
3056:
3054:
3051:
3049:
3046:
3044:
3041:
3039:
3036:
3034:
3031:
3029:
3026:
3024:
3021:
3019:
3018:
3014:
3012:
3009:
3007:
3004:
3002:
2999:
2997:
2994:
2992:
2989:
2987:
2984:
2982:
2979:
2977:
2974:
2972:
2971:Entertainment
2969:
2967:
2964:
2962:
2959:
2957:
2954:
2952:
2949:
2947:
2944:
2942:
2939:
2937:
2934:
2932:
2929:
2927:
2924:
2920:
2917:
2915:
2912:
2911:
2910:
2907:
2905:
2902:
2900:
2897:
2895:
2894:Art manifesto
2892:
2890:
2887:
2885:
2884:Appropriation
2882:
2881:
2879:
2875:
2869:
2868:
2864:
2862:
2859:
2857:
2854:
2852:
2849:
2847:
2844:
2842:
2839:
2837:
2834:
2832:
2829:
2827:
2824:
2822:
2819:
2817:
2814:
2812:
2809:
2807:
2804:
2802:
2799:
2797:
2794:
2792:
2789:
2787:
2784:
2782:
2779:
2777:
2776:Merleau-Ponty
2774:
2772:
2769:
2767:
2764:
2762:
2759:
2757:
2754:
2752:
2749:
2747:
2744:
2742:
2739:
2737:
2734:
2732:
2729:
2727:
2724:
2722:
2719:
2717:
2714:
2712:
2709:
2707:
2704:
2702:
2699:
2697:
2694:
2692:
2689:
2687:
2684:
2682:
2679:
2677:
2674:
2672:
2669:
2667:
2664:
2662:
2659:
2657:
2654:
2652:
2649:
2647:
2644:
2642:
2639:
2637:
2634:
2632:
2629:
2627:
2624:
2622:
2619:
2617:
2614:
2612:
2609:
2607:
2604:
2602:
2599:
2597:
2594:
2592:
2591:Abhinavagupta
2589:
2588:
2586:
2582:
2576:
2575:
2571:
2569:
2566:
2564:
2561:
2559:
2556:
2554:
2551:
2549:
2546:
2544:
2543:Postmodernism
2541:
2539:
2536:
2534:
2531:
2529:
2526:
2524:
2521:
2519:
2516:
2514:
2511:
2509:
2506:
2504:
2501:
2500:
2498:
2494:
2488:
2485:
2483:
2480:
2478:
2475:
2473:
2470:
2468:
2465:
2463:
2460:
2458:
2455:
2453:
2450:
2448:
2445:
2443:
2440:
2438:
2435:
2434:
2432:
2428:
2424:
2417:
2412:
2410:
2405:
2403:
2398:
2397:
2394:
2387:
2383:
2379:
2376:
2374:
2370:
2366:
2363:
2360:
2356:
2353:
2350:
2348:
2346:
2341:
2339:
2336:
2333:
2330:
2328:
2325:
2323:
2320:
2318:
2315:
2314:
2310:
2306:(55):435–446.
2305:
2304:
2299:
2296:
2292:
2288:
2284:
2281:
2278:
2274:
2270:
2266:
2262:
2259:
2256:
2252:
2247:
2244:
2240:
2237:
2233:
2230:
2226:
2223:
2222:
2217:
2214:
2210:
2206:
2202:
2199:
2195:
2191:
2187:
2185:
2181:
2177:
2173:
2170:
2166:
2162:
2158:
2155:
2151:
2147:
2143:
2140:
2136:
2132:
2128:
2124:
2121:
2117:
2113:
2109:
2106:
2103:
2099:
2096:. Princeton.
2095:
2091:
2088:
2084:
2080:
2076:
2073:
2070:
2066:
2062:
2058:
2054:
2052:9789004533110
2048:
2044:
2039:
2036:
2032:
2028:
2024:
2021:
2017:
2013:
2009:
2006:
2002:
1998:
1994:
1991:
1988:
1984:
1980:
1979:
1974:
1971:
1970:
1966:
1959:
1954:
1951:
1946:
1940:
1932:
1928:
1924:
1918:
1914:
1913:
1905:
1902:
1889:
1885:
1879:
1876:
1871:
1867:
1863:
1861:0-8052-0241-2
1857:
1853:
1852:
1851:Illuminations
1844:
1841:
1836:
1832:
1828:
1822:
1818:
1817:
1809:
1806:
1794:
1790:
1783:
1780:
1775:
1769:
1761:
1757:
1753:
1747:
1743:
1742:
1734:
1731:
1726:
1719:
1716:
1710:
1707:
1703:
1698:
1695:
1690:
1686:
1682:
1676:
1672:
1671:
1663:
1661:
1657:
1653:
1652:0-691-11336-X
1649:
1645:
1644:
1639:
1634:
1631:
1627:
1623:
1619:
1617:
1610:
1607:
1604:Jansen (2008)
1601:
1598:
1592:
1590:
1588:
1584:
1570:
1565:
1554:
1549:
1538:
1533:
1522:
1517:
1516:
1514:
1500:
1496:
1489:
1486:
1482:
1480:
1479:
1469:
1466:
1460:
1457:
1452:
1448:
1444:
1440:
1437:(2): 89–108.
1436:
1432:
1425:
1422:
1417:
1413:
1409:
1403:
1399:
1398:
1390:
1387:
1382:
1376:
1368:
1364:
1360:
1354:
1350:
1349:
1341:
1338:
1333:
1329:
1325:
1319:
1315:
1314:
1313:Illuminations
1306:
1303:
1298:
1294:
1290:
1284:
1280:
1279:
1271:
1268:
1264:
1260:
1256:
1255:
1250:
1245:
1242:
1237:
1224:
1216:
1209:
1206:
1200:
1197:
1193:
1191:9781405881180
1187:
1183:
1176:
1173:
1167:
1160:
1159:
1152:
1149:
1145:
1144:
1137:
1134:
1130:
1126:
1122:
1120:
1113:
1110:
1106:
1098:
1094:
1090:
1088:
1081:
1078:
1074:
1070:
1068:
1061:
1059:
1057:
1053:
1049:
1045:
1043:
1036:
1033:
1029:
1028:
1021:
1018:
1014:
1013:
1006:
1003:
999:
998:
991:
988:
982:
977:
973:
970:
968:
965:
963:
960:
957:
953:
952:
948:
946:
943:
942:
938:
936:
934:
927:Nidesh Lawtoo
926:
924:
921:
919:
914:
912:
908:earlier book
907:
903:
901:
897:
893:
889:
888:
883:
879:
874:
871:
867:
862:
858:
854:
851:
849:
840:
838:
835:
831:
830:
821:
819:
817:
813:
809:
803:
801:
797:
793:
789:
785:
781:
778:
774:
768:
764:
756:
754:
752:
751:Luce Irigaray
745:Luce Irigaray
744:
742:
739:
735:
731:
727:
719:
717:
714:
713:
708:
704:
703:
698:
694:
686:
684:
682:
676:
671:
669:
668:Philip Sidney
665:
661:
657:
649:
644:
642:
640:
636:
632:
628:
623:
621:
617:
613:
609:
603:
596:
592:
590:
588:
583:
580:
578:
574:
570:
566:
562:
558:
557:
551:
549:
545:
541:
537:
533:
529:
525:
521:
517:
516:
510:
507:
503:
499:
495:
491:
490:
485:
477:
474:
472:
465:
462:
460:
456:
452:
447:
443:
440:
436:
430:
427:
423:
422:
416:
414:
413:
408:
404:
395:
393:
389:
385:
383:
378:
376:
372:
367:
365:
361:
360:
355:
351:
350:
345:
344:
339:
335:
331:
327:
319:
314:
312:
310:
306:
302:
301:Merlin Donald
298:
294:
290:
286:
282:
278:
277:Luce Irigaray
274:
270:
266:
262:
261:Sigmund Freud
258:
257:Gabriel Tarde
254:
250:
246:
245:Philip Sidney
242:
237:
235:
234:
229:
225:
224:
219:
215:
210:
208:
204:
200:
196:
195:
190:
186:
182:
178:
174:
170:
166:
162:
152:
142:
137:
135:
131:
128:, the act of
127:
123:
119:
115:
111:
110:
105:
101:
93:
92:Ancient Greek
87:
45:
41:
37:
30:
26:
22:
7228:Neoplatonism
6954:Theophrastus
6812:Protrepticus
6705:and politics
6516:
6503:
6499:hypokeimenon
6497:
6481:
6464:
6447:
6440:
6428:
6424:Hylomorphism
6416:
6394:
6373:
6361:
6354:
6263:
6253:
6243:
6233:
6227:(temperance)
6223:
6213:
6203:
6193:
6183:
6173:
6163:
6153:
6143:
6142:
6133:
6123:
6113:
6103:
6093:
6083:
6073:
6063:
6057:(excellence)
6053:
6043:
6033:
6023:
6013:
6003:
5821:
5567:Related non-
5539:
5532:
5525:
5520:
5514:
5500:
5489:Theorization
5474:
5464:
5451:
5330:
5245:Found object
5240:Détournement
5074:YouTube poop
5069:Video mashup
5017:Collage film
4980:
4972:
4963:
4891:Found poetry
4886:Flarf poetry
4795:Parody music
4775:Music mashup
4750:Contrafactum
4654:Storytelling
4469:Subjectivity
4459:Third-person
4449:First-person
4083:
3892:Comic relief
3644:
3637:
3628:Flashforward
3595:
3569:Origin story
3551:
3514:Straight man
3469:
3240:
3230:
3220:
3190:
3180:
3160:
3150:
3140:
3130:
3120:
3110:
3057:
3037:
3033:Magnificence
3015:
2865:
2831:Schopenhauer
2666:Coomaraswamy
2584:Philosophers
2572:
2503:Aestheticism
2372:
2344:
2301:
2286:
2264:
2242:
2235:
2228:
2219:
2204:
2189:
2175:
2160:
2145:
2126:
2111:
2093:
2078:
2075:Girard, René
2060:
2042:
2026:
2011:
1996:
1976:
1967:Bibliography
1953:
1911:
1904:
1892:. Retrieved
1890:. 9 May 2020
1888:the Guardian
1887:
1878:
1850:
1843:
1815:
1808:
1796:. Retrieved
1792:
1782:
1740:
1733:
1724:
1718:
1709:
1697:
1669:
1641:
1633:
1614:
1609:
1600:
1572:. Retrieved
1556:. Retrieved
1540:. Retrieved
1524:. Retrieved
1503:. Retrieved
1499:the original
1488:
1476:
1474:
1468:
1459:
1434:
1430:
1424:
1396:
1389:
1347:
1340:
1312:
1305:
1277:
1270:
1252:
1244:
1223:cite journal
1208:
1199:
1181:
1175:
1156:
1151:
1141:
1136:
1119:The Republic
1118:
1112:
1101:
1087:The Republic
1086:
1080:
1066:
1041:
1035:
1025:
1020:
1010:
1005:
995:
990:
962:Anti-mimesis
949:
932:
930:
916:
909:
904:
891:
885:
875:
846:
844:
827:
825:
811:
808:reductionism
804:
772:
770:
748:
723:
710:
700:
690:
678:
673:
655:
653:
645:Modern usage
638:
634:
626:
624:
607:
605:
594:
584:
581:
576:
572:
568:
564:
554:
552:
539:
535:
532:lyric poetry
513:
511:
509:characters.
501:
497:
493:
487:
483:
481:
470:
467:
463:
458:
448:
444:
431:
425:
419:
418:Aristotle's
417:
410:
407:formal cause
399:
390:
386:
379:
371:The Republic
370:
368:
357:
353:
349:The Republic
347:
341:
323:
238:
231:
221:
211:
202:
192:
184:
172:
160:
150:
140:
138:
107:
99:
43:
42:
40:
7354:Visual arts
7324:Narratology
7314:Film theory
7104:Duns Scotus
6944:Dicaearchus
6934:Aristoxenus
6693:Metaphysics
6686:Metaphysics
6672:Progression
6639:On the Soul
6634:Meteorology
6436:Magnanimity
6402:Four causes
6177:(substance)
6167:(intellect)
6147:(imitation)
6117:(character)
6107:(knowledge)
5924:Short story
5715:Description
5634:Open source
5422:Plot device
5372:Originality
5355:Fan fiction
5220:After (art)
5176:Translation
5032:Parody film
4916:Visual arts
4845:Tribute act
4708:in the arts
4659:Tellability
4625:Metafiction
4620:Narratology
4392:Theological
4284:Pop culture
4165:Short story
4143:Epic poetry
3864:Time travel
3677:Red herring
3662:Plot device
3633:Frame story
3586:Cliffhanger
3529:Tritagonist
3504:Protagonist
3126:(c. 335 BC)
3116:(c. 390 BC)
3095:Work of art
3048:Picturesque
2904:Avant-garde
2861:Winckelmann
2736:Kierkegaard
2661:Collingwood
2631:Baudrillard
2558:Romanticism
2528:Historicism
2462:Mathematics
2269:C. Kasparek
1574:17 December
1558:17 December
1542:17 December
1526:17 December
1505:17 December
1155:Aristotle,
1140:Aristotle,
861:Third Reich
834:René Girard
822:René Girard
792:Guna people
664:imagination
548:epic poetry
403:four causes
305:Homi Bhabha
285:René Girard
273:Paul Ricœur
183:contrasted
118:receptivity
7293:Categories
7186:Hursthouse
7060:Maimonides
7026:Avicennism
6677:Generation
6649:On Animals
6576:Categories
6396:Eudaimonia
6224:Sophrosyne
6197:(prudence)
6124:Eudaimonia
6087:(division)
6027:(infinite)
5919:Screenplay
5873:Stylistics
5832:Plagiarism
5807:Assemblage
5800:Prewriting
5750:Techniques
5730:Literature
5720:Exposition
5527:Nachahmung
5513:Dionysian
5453:L.H.O.O.Q.
5377:Simulacrum
5186:Adaptation
5166:Plagiarism
5100:Joke theft
5083:Other arts
4876:Assemblage
4738:Contrafact
4545:Continuity
4414:Nonfiction
4378:Underwater
4274:Picaresque
4249:Historical
4234:Epistolary
4106:Fairy tale
4017:Peripeteia
3999:Exposition
3755:Dreamworld
3697:Stereotype
3667:Plot twist
3415:Antagonist
3065:Recreation
3043:Perception
2936:Creativity
2636:Baumgarten
2626:Baudelaire
2508:Classicism
2423:Aesthetics
2352:Mimesislab
2295:0415906865
2277:9024722330
2255:0805843124
2245:. Uppsala.
2213:0415700302
2198:052142383X
2129:edited by
2120:0691020051
2102:0691092583
2069:0520084594
2035:0416720609
2020:1890318620
2005:0691098743
1987:069111336X
1931:1102184868
1894:4 November
1826:1784786802
1798:4 November
1760:1036096585
1680:080520802X
1626:0691098743
1407:0415906865
1323:0224618253
1288:0198141750
1263:069111336X
1121:, Book III
1089:, Book III
978:References
882:Horkheimer
606:Dionysian
593:Dionysian
253:Adam Smith
151:mīmeisthai
130:expression
7329:Platonism
7221:Platonism
7176:MacIntyre
7038:Averroism
7016:Al-Farabi
6974:Critolaus
6918:Followers
6895:Economics
6875:Mechanics
6840:On Plants
6835:On Colors
6830:On Breath
6781:On Dreams
6771:On Memory
6534:Haecceity
6512:Syllogism
6483:Phronesis
6375:Catharsis
6324:Aristotle
6194:Phronesis
6187:(passion)
6097:(opinion)
6084:Diairesis
6037:(problem)
6004:Adiaphora
5402:Archetype
5394:and forms
5350:Fan labor
5230:Bricolage
5171:Quotation
5059:TV format
4965:Mona Lisa
4860:Vaporwave
4855:Variation
4815:Quodlibet
4810:Potpourri
4800:Pasticcio
4790:Nightcore
4436:Narration
4385:Superhero
4309:Chivalric
4294:Religious
4279:Political
4214:Adventure
4199:Biography
4121:Tall tale
3969:Structure
3954:Symbolism
3922:Narration
3822:Leitmotif
3750:Crossover
3745:Backstory
3702:Story arc
3652:MacGuffin
3623:Flashback
3564:Backstory
3440:Confidant
3420:Archenemy
3407:Character
3399:Narrative
3070:Reverence
2976:Eroticism
2946:Depiction
2919:Masculine
2821:Santayana
2781:Nietzsche
2726:Hutcheson
2716:Heidegger
2701:Greenberg
2656:Coleridge
2621:Balthasar
2606:Aristotle
2568:Theosophy
2563:Symbolism
2538:Modernism
2523:Formalism
2378:"Mimesis"
2365:"Mimesis"
2234:—— 2001.
2221:Semiotica
1939:cite book
1835:957655599
1789:"Mimicry"
1768:cite book
1451:144657276
1375:cite book
1367:919087055
1168:Citations
1125:B. Jowett
1093:B. Jowett
1073:B. Jowett
1048:B. Jowett
1044:, Book II
906:Calasso's
870:Holocaust
738:astrology
656:imitation
631:Aristotle
544:dithyramb
439:empathise
435:catharsis
396:Aristotle
330:Aristotle
241:Aristotle
189:imitation
156:μιμεῖσθαι
114:imitation
7266:Category
7191:Nussbaum
7161:Brentano
7033:Averroes
7021:Avicenna
7011:Al-Kindi
6984:Erymneus
6880:Problems
6776:On Sleep
6743:Rhetoric
6722:Politics
6667:Movement
6529:Quiddity
6390:accident
6317:Overview
6267:(temper)
6217:(wisdom)
6207:(nature)
6137:(reason)
6104:Episteme
6064:Ataraxia
6014:Aletheia
5863:Register
5841:Features
5827:Pastiche
5817:Diegesis
5622:Fair use
5515:imitatio
5508:Diegesis
5332:Afflatus
5304:Anti-art
5291:concepts
5235:Citation
5199:Literary
5161:Pastiche
5146:Allusion
5130:concepts
5128:General
5054:Supercut
4840:Standard
4830:Sampling
4714:By field
4642:Glossary
4637:Rhetoric
4444:Diegesis
4424:Creative
4397:Thriller
4346:Southern
4264:Paranoid
4259:Nautical
4170:Vignette
4128:Gamebook
4096:Folklore
4003:Protasis
3882:Allegory
3827:Metaphor
3785:parallel
3780:universe
3760:Dystopia
3717:Suspense
3603:Dialogue
3591:Conflict
3499:Narrator
3471:Hamartia
3345:Category
3277:Axiology
3146:(c. 500)
3136:(c. 100)
3011:Judgment
2966:Emotions
2961:Elegance
2941:Cuteness
2914:Feminine
2877:Concepts
2846:Tanizaki
2826:Schiller
2811:Richards
2801:Rancière
2771:Maritain
2706:Hanslick
2646:Benjamin
2518:Feminism
2487:Theology
2467:Medieval
2457:Japanese
2452:Internet
2371:for the
2355:Archived
2285:. 1993.
2263:. 1980.
2205:Mimesis.
2131:C. Fynsk
2110:. 1992.
2077:. 2008.
1975:. 1953.
1870:12947710
1689:12805048
1640:. 1953.
1628:. p. 72.
1478:diegesis
1416:26719038
1332:10931256
1251:. 1953.
1069:, Book X
1067:Republic
1042:Republic
939:See also
832:(1978),
800:Colombia
784:alterity
775:(1993),
728:"(1933)
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853:Calasso
712:Odyssey
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5735:Writer
5480:(2010)
5470:(1939)
5457:(1919)
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3246:(2009)
3236:(1977)
3226:(1946)
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