Mimesis For Aristotle‚ mimesis describes a process involving the use by different art forms of different means of representation‚ different manners of communicating that illustration to an audience‚ and different levels of moral and ethical behavior as objects of the artistic demonstration. Thus Aristotle distinguishes between tragedy and comedy essentially on the basis of the fact that tragedy represents "noble" or "morally good" agents‚ while comedy portrays "ignoble" or "morally defective"
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Mimesis: Plato and Aristotle 1‚515 Words Philosophy 2348: Aesthetics\ The term ‘mimesis’ is loosely defined as ‘imitation’‚ and although an extensive paper could be written about the cogency of such a narrow definition‚ I will instead focus on Plato and Aristotle’s contrasting judgements of mimesis (imitation). I will spend one section discussing Plato’s ideas on mimesis and how they relate to his philosophy of reality and the forms. I will then spend a section examining Aristotle’s differing
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Mimesis‚ Catharsis‚ and Pleasure: An Investigation into Aristotle’s Tragic Pleasure Bradley Elicker Temple University Abstract: Aristotle writes the Poetics as an investigation into representational art and‚ more specifically‚ as an investigation into the art form of tragedy. While Aristotle goes into great detail regarding the technical aspects of creating and appreciating a work of tragedy‚ he is somewhat lacking in his descriptions of how tragedy is enjoyed by an audience. Aristotle speaks
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happiness‚ sadness‚ or even confusion. The purging of emotions in reaction to something especially tragedies or music is known as a catharsis. In Antigone by Sophocles‚ the audience experiences a catharsis for a variety of characters. Although their actions may seem overly dramatic due to the trivial matters that they stress about‚ Antigone‚ Creon‚ and Haemon provide for a catharsis through their tone during the situations they undergo. Antigone’s pitiful situation of standing alone against a strong king
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Essay on mimesis in Alice in Wonderland and Through the Looking Glass A quest in search for the elements which consitute a new notion of mimesis in Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass Mimésis ve světové literatuře/Klára Kolínská‚ Úterý 10:50 – 12:25 “Who in the world am I?” Ah‚ that’s the great puzzle.[1] This question‚ asked by Alice herself at the beginning of Alice’s Adventures in Wonderland
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hints of Salinger’s attitudes and experiences are seen throughout the development of Holden Caulfield. Crucial to the profile of JD Salinger are the atrocities he had witnessed in war. In 1950‚ when the novel was finished‚ it was a clear product of catharsis. After all‚ the character of Holden had been
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In the opening statements of his essay “King Lear: Monstrous Mimesis”‚ Lawrence Schehy challenges us to rid ourselves of our simplistic expectations of a story devoted to a tail of “Filial devotion”. He asks of us that we see the characters past their transparent descriptions‚ and look for a deeper understanding as to why is it that they are portrayed as such. Schehy‚ blames the transparent nature of the play on the tone of language that the characters employ. In addition Schehy exclaims that compared
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Catharsis in As You Like It Literature is meant to teach. Its purpose is to shed light upon the soul and offer up the best and worst of humanity. All the stories we read‚ all the characters we relate to and begin to understand‚ they all have a tale to tell and a lesson to be learned. This is precisely what makes literature so vital to the human spirit. It is here that we enter the world of William Shakespeare’s As You Like It ‚ a story set in a fantastical forest. As we follow the true love of Orlando
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iA comparison between Aristotle and Plato on mimesis 1. Introduction Mimesis‚ as a controversial concept starting from the 15th century‚ is among the oldest terms in literature and artistic theory‚ and is certainly among the most fundamental. Developing centuries‚ the concept of mimesis has been explored and reinterpreted by scholars in various academic fields. The word “Mimesis” developed from the root mimos‚ noun designating both a person who imitates and a specific genre of performance based
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well as listeners. Flatley gives two viewpoints on catharsis by discussing of the works of Du Bois and Douglass. Douglass “suggests that the songs allowed pent-up emotion to be innervated‚ that they are‚ in effect‚ cathartically therapeutic”‚ whereas “[f]or Du Bois‚ although the songs articulate sadness‚ loss‚ disappointment‚ and “unvoiced longing‚” they do not themselves relieve sadness.” (Flatley 2008: 150 – 151) However‚ the connection of catharsis and music has been noted already by Aristotle as
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