THE CONCEPT OF IMITATION IN PLATO AND ARISTOTLE Abstract Plato and Aristotle argue that artist (Demiurge) and poet imitate nature‚ thus‚ a work of art is a reflection of nature. However‚ they have different views on the functions of imitation in art and literature. Plato believes in the existence of the ideal world‚ where exists a real form of every object found in nature. A work of art –which reflects nature is twice far from the reality it represents. Aristotle‚ on the other hand‚ does not
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art are based upon the same fundamental assumption: that art is a form of mimesis‚ imitation. Both philosophers are concerned with the artist’s ability to have significant impact on others. It is the imitative function of art which promotes disdain in Plato and curiosity in Aristotle. Examining the reality that art professes to imitate‚ the process of imitation‚ and the inherent strengths and weaknesses of imitation as a form of artistic expression may lead to understanding how these conflicting views
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Plato’s account of imitation would seem to be relatively simple at this stage; mimesis appears to be translatable as “representation”‚ an expression of character whereby the poet (using dialogue) and the actor (in a dramatic presentation) imitate a character. Furthermore‚ where that imitated character has undesirable traits‚ the imitation is to be avoided. And later‚ in Book X‚ Plato claims that most poetry of necessity contains evil men (in order to produce interest and pleasure)‚ and this too forms
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points by taking Plato’s commentaries into consideration. In this way‚ Aristotle’s Poetics is a kind of answer to Plato’s arguments on poetry. First of all‚ it’s clear that both men regard poetry as a form of imitation but they approach to imitation from different perspectives. Plato sees imitation as a copying process‚ thus it is always beyond the truth. He illustrates this process with a “bed example” in his Republic. In this example‚ he tries to define a copier man as a three moves away from true
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Mimesis‚ the Greek word for imitation‚ has been of major importance in the history of aesthetic and literary theory. It is the earlier way to judge any work of art in relation to reality and to decide whether its representation is accurate or not. Though this mode starts from Plato‚ it runs through many great theorists of Renaissance up to some modern theorists as well. A literary work is taken to be a representation of reality or of any aspect of it. Plato holds a rather negative view on mimesis;
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comparing automatic imitation and verbal command Authors: Helge Gillmeister‚ Arnaud Badets and Cecilia Heyes University College London‚ London‚ UK Corresponding author: Helge Gillmeister Department of Psychology‚ University College London‚ 26 Bedford Way‚ London WC1H 0AP‚ United Kingdom Tel.: +44 207 679 5379 E-mail: h.gillmeister@ucl.ac.uk Running head: Actions speak louder than words Word count: 3904 Actions speak louder than words Abstract Automatic imitation – copying observed
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Charles Mingus was one of the most influential and groundbreaking jazz musicians and composers of the 1950s and 1960s. The virtuoso bassist gained fame in the 1940s and 1950s working with such jazz greats as Louis Armstrong‚ Duke Ellington‚ Charlie Parker‚ Art Tatum‚ and many others. His compositions pushed harmonic barriers‚ combining Western-European classical styles with African-American roots music. While examining his career is valuable from musical standpoint‚ his career also provides a powerful
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art as imitation or a mirror. He calls this the “Imitation Theory” or “IT”. If this were accurate then any image reflected in a mirror would also be considered an artwork. Although‚ many artists during Socrates’ and Plato’s time and later tried to imitate nature into their art. The advancements of photography ultimately ended this as an artform and proved the Imitation Theory to be false. Since imitation was not their goal‚ modern art‚ mainly post-impressionist works challenged the Imitation Theory
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Missa Pange lingua. In this essay‚ I would analyse the way he had used the melody in the Agnus Dei section of his Mass and explore how he had used other techniques such as canon‚ imitation‚ sequence‚ repetition and duetting. Josquin used an example of canon to start the Agnus Dei of his mass. A canon is a strict imitation between two or more parts which the intervals between notes are exactly the same. At the beginning of the Angus Dei‚ Josquin also used the first four notes of the first bar of the
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Notes on Poetics by Aristotle Part VI-Defining tragedy‚ it’s elements and Imitation Defines tragedy as an imitation that is serious‚ complete and with a certain magnitude. The success or failure of the tragedy aspect is dependent on action‚ and action consists of distinctive qualities through character and thought. Character is the association of virtues we give to the agent. Thought is fund everywhere‚ for everything must be justified. Therefore it is relevant for any statement or truth
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