Perhaps. In any event, the parallel, the mimesis, is troubling.
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It is almost a combinatory mimesis of Howe's and Mackey's poetry.
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Both types of work operate through a distinctive form of mimesis.
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Through the playful tension that ensues, the drawing transcends simple mimesis.
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"Girard was talking about mimesis, that humans are monkey see, monkey do," he says.
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His objective, it seemed, was to abandon mimesis, the depiction of people and things.
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The emotional signature of all this imitation—or mimesis—is not admiration but consuming envy.
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Pixar has always fascinated me... it's a mimesis of our reality, kind of like a modern day bible.
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In his book Neurocapitalismo (Mimesis, 2016), Giorgio Griziotti highlights our symbiosis with technology and its impact on social life.
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In both, the horror is amplified by the plausibility of their technological mimesis: either an amateur documentary or a missing person's smartphone.
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The Forbes' articles were a "two-step train wreck," said Lee Pacchia, co-founder and CEO of Mimesis, a strategic communications consultancy firm.
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His mimesis mode, which verges on illustration, strikes me as distinctly less compelling than a more visionary, imaginative one — like Richter's and, especially, Polke's.
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Still on Facebook, I got into an exchange with the poet Daniel Tiffany about whether Gordon's wild vernacular was based more on mimesis or invention.
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Flattening out the world and making it easier to understand—even while totally confusing it and incorporating extraterrestrials into your explanation—is the point of mimesis.
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As feminist science scholars like Karen Barad have written, the relationship of nature and culture is not one of reflection or mimesis but one of entanglement.
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The sculptures hold a mirror up to nature — and culture — in a quite literal sense but the works embrace their own artifice rather than striving for straight mimesis.
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Though this wasn't the only score of his that made listeners wonder whether he entertained ideas of representation, mimesis, evocation in his work, he — like Cunningham — kept quiet about these matters.
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He explains that people think mimesis is the act of copying reality, but that the true goal of mimes is to communicate the spirit of things in ways that are meaningful to everyone.
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The adaptation is obsessively faithful to its source material; it's even in Italian, with English subtitles, a mimesis of the fact that, for non-Italian speakers, the translated books themselves are a kind of adaptation.
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He recommends a majoring in cultural studies or studying visual culture, media studies, political science, or sociology to prepare for writing peer-reviewed papers like his 2017 Communicating Graphically: Mimesis, Visual Language, and Commodification as Culture.
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A journalist might see in this inconsistency a series of failed ledes; an art aficionado might see an attempt at mimesis, with Malcolm embodying in the form of her piece the fractured sensibility of Salle's own paintings, their disarray.
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Both styles, however different (Schad was an exquisite chronicler of Weimar decadence, while Wilde went after dreamlike, virtuosic mimesis and superficial shocks), were based in an optical examination of the real world, while Graham's work is undeniably a mental projection.
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" More, Celant writes in the gallery guide that, "in the formal and visual sense they are a break with the canons of the acceptable that undermine the deceitfulness and the pacifying and soothing mimesis of art, pushing it in the direction of a primitive and breathtaking animalism.
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The novel contains no direct dialogue, only reported speech; scenes are remembered by the narrator, not invented by an omniscient author, which means that the writing doesn't have to involve itself in those feats of startup mimesis that form the grammar, and gamble, of most novels.
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The characters engage in an imitative form of art by creating improved replicas of themselves, but thanks to this act they're able to achieve a greater form of expression — finding a way out of their misery and a higher meaning of art, beyond formalism and mimesis.
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Starbucks intends Tuesday afternoon's training to promote inclusion and help prevent discrimination, but the company has to be careful not to alienate certain employees or issue blanket statements about bias being universal, Lee Pacchia, co-founder and CEO of Mimesis, a strategic communications consultancy firm, told CNBC via email.
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In looking further at depictions of Saint Anthony — from medieval folk art, a plethora of Renaissance work, to a series of paintings by surrealist artists, such as Max Ernst's 1945, "The Temptation of Saint Anthony" — a pattern begins to develop in which a mimesis of visual hallucinations associated with ergotism is clearly present.
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Some of these "orders" are self-injunctions that inform Xie's verbal mimesis, as though it could be governed by the principles of the visual arts: To draw ink-lines across the lids To dip into small pots of pigment To brush two-dozen times To flush with water and tame with oil To refrain and to spill in appropriate measure To drink from the soft and silvery pane To extract the root of the solitary so as to appear The writing of poetry is notoriously mystified, almost occult in its resistance to rules or step-by-step methods.
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Literature, in general, is defined by Aristotle as a mimesis, or imitation of life. Comedy is the third form of literature, being the most divorced from a true mimesis. Tragedy is the truest mimesis, followed by epic poetry, comedy, and lyric poetry. The genre of comedy is defined by a certain pattern according to Aristotle's definition.
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Aristotle on tragic and comic mimesis, Scholars Press, Atlanta, Georgia.
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"La stagione secca" (transl. by M. Obit): Milano-Udine, Mimesis edizioni, 2017.
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122 Both Merlin Donald and the Socratic authors such as Plato and Aristotle emphasize the importance of mimesis, often translated as imitation or representation. Donald writesOrigins of the Modern Mind p. 169 > Imitation is found especially in monkeys and apes [... but ...] Mimesis is > fundamentally different from imitation and mimicry in that it involves the > invention of intentional representations. [...] Mimesis is not absolutely > tied to external communication.
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Dionysius' concept marked a significant departure from the concept of mimesis formulated by Aristotle in the 4th century BCE, which was only concerned with "imitation of nature" instead of the "imitation of other authors." Latin orators and rhetoricians adopted the literary method of Dionysius' imitatio and discarded Aristotle's mimesis. In Aristotle's Poetics, lyric poetry, epic poetry, drama, dancing, painting are all described as forms of mimesis.
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Through these investors, Mimesis Republic raised over 4.5 million Euros between 2007 and 2009.
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In 2007, Gaume, along with Sebastian Lombardo, co-founded the company Mimesis Republic. The main focus of their new company was to develop multi-player games. Mimesis Republic began with a series of projects dealing with software performance, in particular for the site Wormee Orange, and Mission Virtual Horse, created by the publisher Mindscape. Mimesis Republic's first original project, named Black Mamba, was the basis of an ambitious virtual world called Mamba Nation, whose development began in 2008."Mimesis Republic Is Zynga Meets Second Life, Comes Out Of Stealth" In July 2010, Mimesis Republic raised $7 million from various investors, including prestigious business executives such as Marc Simoncini, CEO and founder of the dating site Meetic, and Jean-Emile Rosenblum, founder and director of Pixmania and Francois Pinault, through his holding company Artemis SA.Greffe du tribunal de commerce de Paris, Statuts de Mimesis Republic S.A. mis à jour le 8 juillet 2010.
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39 Dionysius' concept marked a significant departure from the concept of mimesis formulated by Aristotle in the 4th century BC, which was only concerned with "imitation of nature" and not "imitation of other authors." Latin orators and rhetoricians adopted Dionysius' method of imitatio and discarded Aristotle's mimesis.
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Mimesis criticism is a method of interpreting texts in relation to their literary or cultural models. Mimesis, or imitation (imitatio), was a widely used rhetorical tool in antiquity up until the 18th century's romantic emphasis on originality. Mimesis criticism looks to identify intertextual relationships between two texts that go beyond simple echoes, allusions, citations, or redactions. The effects of imitation are usually manifested in the later text by means of distinct characterization, motifs, and/or plot structure.
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Aristotle also outlines two kinds of rhetorical proofs: enthymeme (proof by syllogism) and paradeigma (proof by example). Aristotle writes in his Poetics that epic poetry, tragedy, comedy, dithyrambic poetry, painting, sculpture, music, and dance are all fundamentally acts of mimesis ("imitation"), each varying in imitation by medium, object, and manner. He applies the term mimesis both as a property of a work of art and also as the product of the artist's intention and contends that the audience's realisation of the mimesis is vital to understanding the work itself. Aristotle states that mimesis is a natural instinct of humanity that separates humans from animals and that all human artistry "follows the pattern of nature".
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In the twentieth century a paradigm shift took place in the interpretation of catharsis: a number of scholars contributed to the argument in support of the intellectual clarification concept.For example: L. Golden, Aristotle on Tragic and Comic Mimesis, Atlanta, 1992; S. Halliwell, Aristotle's Poetics, London, 1986; D. Keesey, "On Some Recent Interpretations of Catharsis", The Classical World, (1979) 72.4, 193–205. The clarification theory of catharsis would be fully consistent, as other interpretations are not, with Aristotle's argument in chapter 4 of the Poetics (1448b4-17) that the essential pleasure of mimesis is the intellectual pleasure of "learning and inference". It is generally understood that Aristotle's theory of mimesis and catharsis represent responses to Plato's negative view of artistic mimesis on an audience.
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A documentary film about the genesis of the 2013 Prague production of Mysliveček's opera L'Olimpiade, produced by Mimesis Film and directed by Petr Václav, was released in 2015 under the title Zpověď zapomenutého (Confession of the Vanished). It was a winner of the Trilobit Beroun award of 2016. A full-length biopic devoted to Josef Mysliveček is scheduled to be produced by Jan Macola of Mimesis Film with a planned release date of 2017.These plans are outlined in an article in the Prague Monitor of 30 July 2013 and the Mimesis Film website.
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In 2014, Opheliamachine was translated and published in Italian journal, Mimesis, with an introduction by Italian theatre scholar, Maria Pia Pagani.
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Saggi sulla condizione umana tra filosofia, scienza e arte, a cura di G. F. Frigo, Mimesis, Milano 2010, pp. 209–232.
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Michigan State University Press publishes the annual journal of Colloquium on Violence & Religion, Contagion: Journal of Violence, Mimesis, and Culture (ISSN 1930-1200) and two related series of books: Breakthroughs in Mimetic Theory and Studies in Violence, Mimesis, and Culture. Colloquium on Violence & Religion also publishes a quarterly online newsletter, The Bulletin of the Colloquium on Violence and Religion.
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Mimesis (; mīmēsis, from μιμεῖσθαι mīmeisthai, "to imitate", from μῖμος mimos, "imitator, actor") is a term used in literary criticism and philosophy that carries a wide range of meanings which include imitatio, imitation, nonsensuous similarity, receptivity, representation, mimicry, the act of expression, the act of resembling, and the presentation of the self.Gebauer and Wulf (1992, 1). In ancient Greece, mimesis 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, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative.
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According to another school of thought, language evolved from mimesis — the "acting out" of scenarios using vocal and gestural pantomime.Donald, M. 1998. Mimesis and the Executive Suite: missing links in language evolution. In J. R. Hurford, M. Studdert Kennedy and C. Knight (eds), Approaches to the Evolution of Language: Social and cognitive bases. Cambridge: Cambridge University Press, pp. 44-67.
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A Greek historian and rhetorician from the late first century /early first century , Dionysius of Halicarnassus represents a change from the Aristotelian rhetorical notion of mimesis, from imitation of nature to imitation of literature. His most important work in this respect, On Mimesis (, Perì mimēseōs), survives only in fragments. Apparently, most of this work concerned the proper selection of literary models.
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Physicomimetics is physics-based swarm (computational) intelligence. The word is derived from physike (φυσική, Greek for "the science of physics") and mimesis (μίμησις, Greek for "imitation").
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Again, the field recording is an example of schizophonia, and the use of the Hindewhu style in Hancock's adaptation and "Sanctuary" are examples of schizophonic mimesis.
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L'oltreuomo come rivelazione, Milano, Mimesis, 2014, p. 71, . – and experiment an hybridational tension leading to identity slidings. With the essay Philosophical ethology,(IT) Roberto Marchesini, Etologia filosofica.
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"On the One Medium." In Mimesis, Movies, and Media, (Violence, Desire, and the Sacred 3), ed. Cowdell, Fleming, and Hodge. New York and London: Bloomsbury, 2015, 7-15.
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After Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society, and its use has changed and been reinterpreted many times since. One of the best-known modern studies of mimesis, understood as a form of realism in literature, is Erich Auerbach's Mimesis: The Representation of Reality in Western Literature, which opens with a famous comparison between the way the world is represented in Homer's Odyssey and the way it appears in the Bible. From these two seminal texts, the Odyssey being Western and the Bible having been written by a variety of Mid-Eastern writers, 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. In art history, "mimesis", "realism" and "naturalism" are used, often interchangeably, as terms for the accurate, even "illusionistic", representation of the visual appearance of things.
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Anti-mimesis is a philosophical position that holds the direct opposite of Aristotelian mimesis. Its most notable proponent is Oscar Wilde, who opined in his 1889 essay The Decay of Lying that, "Life imitates Art far more than Art imitates Life". In the essay, written as a Platonic dialogue, Wilde holds that anti-mimesis "results not merely from Life's imitative instinct, but from the fact that the self-conscious aim of Life is to find expression, and that Art offers it certain beautiful forms through which it may realise that energy." What is found in life and nature is not what is really there, but is that which artists have taught people to find there, through art.
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Erich Auerbach, Mimesis: The Representation of Reality in Western Literature, trans. Willard R. Trask. Princeton, 1953, repr. 1974 "Chapter 1" Each piece of writing contains multiple layers and meanings.
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To distinguish between these different modes of storytelling—enactment and narration—Aristotle uses the terms "mimesis" (via enactment) and "diegesis" (via narration). From Thespis' name derives the word "thespian".
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Mansfield, Elizabeth. 2007. Too Beautiful to Picture: Zeuxis, Myth, and Mimesis. Minneapolis: University of Minnesota Press. pp. 119–120. . Meanwhile, a man in the foreground clutches a framed painting.
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Frammenti di una vita by Tiziana D'Amico for Mimesis. Žuchová's translations include works by Michel Faber, Sarah Kane, Sophie Kinsella and Sabine Thiesler. She lives and works in Prague.
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Greek rhetorician Aristotle (4th century ) discusses the rhetorical technique of mimesis or imitation; what Aristotle describes, however, is the author's imitation of nature, not earlier literary or cultural models.
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Four years later he provided a fresh introduction to Vergil in the Middle Ages by Domenico Comparetti when it was reissued in paperback by the same press in 1997.Trans. E. F. M. Benecke. Princeton, NJ: Princeton University Press, 1997. VII–XXXVII. In 2003 he translated for the first time, from the original German, Auerbach's "Epilegomena to Mimesis" as an appendix to the fiftieth-anniversary reprint of Mimesis: The Representation of Reality in Western Literature.
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Diegesis (Greek διήγησις "narration") and mimesis (Greek μίμησις "imitation") have been contrasted since Plato's and Aristotle's times. Mimesis shows rather than tells, by means of action that is enacted. Diegesis is the telling of a story by a narrator. The narrator may speak as a particular character, or may be the invisible narrator, or even the all- knowing narrator who speaks from "outside" in the form of commenting on the action or the characters.
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As a critical method, mimesis criticism has been pioneered by Dennis MacDonald, especially in relation to New Testament and other early Christian narratives imitating the "canonical" works of Classical Greek literature.
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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 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 four causes in nature.
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Verisimilitude has its roots in both the Platonic and Aristotelian dramatic theory of mimesis, the imitation or representation of nature. For a piece of art to hold significance or persuasion for an audience, according to Plato and Aristotle, it must have grounding in reality. This idea laid the foundation for the evolution of mimesis into verisimilitude in the Middle Ages particularly in Italian heroic poetry. During this time more attention was invested in pinning down fiction with theory.
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In dialogo tra estetica ed etica, Milano, Mimesis, 2003 (with David Michael Levin). # The Thinking of the Sensible. Merleau-Ponty's A-Philosophy, Evanston (IL), Northwestern University Press, 2004. # Una deformazione senza precedenti.
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Representations frequently publishes thematic special issues, for example, the 2007 issue on the legacies of American Orientalism, the 2006 issue on cross-cultural mimesis, and the 2005 issue on political and intellectual redress.
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Camouflage is the use of any combination of materials, coloration, or behaviour that helps to conceal an animal by making it hard to see (crypsis) or by disguising it as something else (mimesis).
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He is a member of the advisory boards of the Collection Caffé dei filosofi, Mimesis Edizioni, Italy; Collection Danubiana. Immagini e libri dalla Romania, Aracné Edizioni, Italy; and Collection icovidivoci, Artetetra Edizioni, Italy.
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After the release End Of You was interviewed in many music magazines, radio/tv -shows and performed in music festivals. End Of You's 2nd album Mimesis was released on April 2008 and the single "You Deserve more" had a good reception on Finnish rock radio stations. Unreal and Mimesis were produced by Hiili Hiilesmaa (HIM, Apocalyptica). On 2009 End Of You decided to part ways with Spinefarm Records and released their 3rd album "Remains of the Day" together with Playground Music.
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1, 2nd ed., 1980, Cambridge University Press, Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Art as mimesis has deep roots in the philosophy of Aristotle. Leo Tolstoy identified art as a use of indirect means to communicate from one person to another.Jerrold Levinson, The Oxford Handbook of Aesthetics, Oxford University Press, 2003, p. 5.
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In the fifty year commemoration reprinting of Auerbach's Mimesis, Edward Said of Columbia University included an extended introduction to Auerbach and mentioned the book's debt to Giambattista Vico stating: "As one can immediately judge by its subtitle, Auerbach's book is by far the largest in scope and ambition out of all the other important critical works of the past half century. Its range covers literary masterpieces from Homer and the Old Testament right through to Virginia Woolf and Marcel Proust, although as Auerbach says apologetically at the end of the book, for reasons of space he had to leave out a great deal of medieval literature as well as some crucial modern writers like Pascal and Baudelaire."Said, Edward. "Fifty Year Anniversary of Mimesis," included in Fifty Year Anniversary edition of Mimesis.
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Instead, poetry and painting each has its character (the former is extended in time; the latter is extended in space). This is related to Lessing's turn from French classicism to Aristotelian mimesis, discussed above.
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Dichomeris mimesis is a moth in the family Gelechiidae. It was described by Ronald W. Hodges in 1986. It is found in North America, where it has been recorded from Texas, Mississippi and Florida.
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Esthétique, phénoménologie, textes plurilingues for the publishing house Mimesis. He is currently the director of the Master Program in Aesthetics and Visual Cultures at the philosophy faculty at the Jean Moulin University Lyon 3, France.
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Brecht's refunctioned mimesis is understood not as a simple mirroring or imitation, but as a measuring; it always involves some kind of attitude on our part. It is not possible, in Brecht's view, to produce a neutral mimesis. Brecht's poem "On Imitation" elaborates this notion succinctly: > He who only imitates and has nothing to say On what he imitates is like A > poor chimpanzee, who imitates his trainer's smoking And does not smoke while > doing so. For never Will a thoughtless imitation Be a real imitation.
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The worlds he constructed in his narratives, while he distanced himself from pure mimesis, were still constructed to be believable. The separation from mimesis he sought to achieve by a kind of deception through language, a process intended to instill "'doubts' and 'trepidations' associated with a child's growing pains and early sorrows. The success of this 'deception' depended upon the effect of 'recognition' on the part of the reader". The point, for Kiš, was to make the reader accept "the illusion of a created reality".
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Three centuries after Aristotle's Poetics, from the 4th century BCE to the 1st century BCE, the meaning of mimesis as a literary method had shifted from "imitation of nature" to "imitation of other authors". No historical record is left to explain the reason of this change. Dionysius' three volume work On mimesis (On imitation), which was the most influential for Latin authors, is lost. Most of it contained advice on how to identify the most suitable writers to imitate and the best way to imitate them.
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For example, any sound recording, radio, and telephone is a machine of schizophonia, in that they all separate the sound from its original source; in the case of radio, the source of a New York radio show is from New York, but a listener in Los Angeles hears the noises from Los Angeles. Secondly, mimesis describes an imitation or representation of that separated sound into another context. For example, mimesis has occurred if one places a recording of a baby's gurgle into a song.
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Some see, for example, a contradiction in trying to assign both pleasure and social utility to poetry at the same time, while others question his use of the distinction between icastic and phantastic mimesis (Leitch, 301).
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Hartmut Mayer: Mimesis und moderne Architektur. Eine architekturtheoretische Neubewertung. Bielefeld: transcript Verlag, 2017, p. 18.Ole W. Fischer: Nietzsches Schatten: Henry van de Velde - von Philosophie zu Form. Berlin: Gebrüder Mann Verlag, 2012, pp. 12-14.
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Mansfield says the painting "humorously exposes the circuit of aesthetic-erotic-commercial traffic embedded within the Zeuxis myth".Mansfield, Elizabeth. 2007. Too Beautiful to Picture: Zeuxis, Myth, and Mimesis. Minneapolis: University of Minnesota Press. p. 121. .
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Academic Karen E. Smythe, in analyzing the fiction of Mavis Gallant, described mimpathy as a combination of mimesis and empathy, an acting out of "self- dramas" as a means of interpreting the suffering of literary characters.
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"A Picture of Africa: Frenzy, Counternarrative, Mimesis." Modern Fictions Studies 59.1, pp. 26–52. Achebe's criticism has become a mainstream perspective on Conrad's work. The essay was included in the 1988 Norton critical edition of Conrad's novel.
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Diegesis and mimesis combined represent the fullest extent of lexis; both forms of speech, narrating and re-enacting.Gerald Prince. A Dictionary of Narratology. 2003. University of Nebraska Press In conclusion, lexis is the larger overview of literature.
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Dionysian imitatio is the influential literary method of imitation as formulated by Greek author Dionysius of Halicarnassus in the 1st century BCE, which conceived it as technique of rhetoric: emulating, adaptating, reworking and enriching a source text by an earlier author.Ruthven (1979) pp. 103–4Jansen (2008) Dionysius' concept marked a significant depart from the concept of mimesis formulated by Aristotle's in the 4th century BCE, which was only concerned with "imitation of nature" instead of the "imitation of other authors". Latin orators and rhetoricians adopted the literary method of Dionysius' imitatio and discarded Aristotle's mimesis.
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A labiodental trill, , is most likely to be lateral, but laterality is not distinctive among labial sounds. Ejective trills are not known from any language, despite being easy to produce. They may occur as mimesis of a cat's purr.
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History of Conservation BC Spaces for Nature. Accessed: May 20, 2006. This artistic movement also coincided with the Transcendentalist movement in the Western world. A common classical idea of beautiful art involves the word mimesis, the imitation of nature.
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Tragedy is mimesis—"the imitation of an action that is serious". He developed his notion of hamartia, or tragic flaw, an error in judgment by the main character or protagonist, which provides the basis for the "conflict-driven" play.
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In Mimesis and Alterity (1993), the anthropologist Michael Taussig 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 alterity). He describes how a legendary tribe, the "white Indians", or Cuna, have adopted in various representations figures and images reminiscent of the white people they encountered in the past (without acknowledging doing so). Taussig, however, criticises anthropology for reducing yet another culture, that of the Cuna, for having been so impressed by the exotic technologies of the whites that they raised them to the status of gods. To Taussig this reductionism is suspect, and he argues this from both sides in his Mimesis and Alterity to see values in the anthropologists' perspective while simultaneously defending the independence of a lived culture from the perspective of anthropological reductionism.
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Mimesis, released on April 23, 2008 on Spinefarm, is the second album by the Finnish alternative rock band End of You. You Deserve More is the only single. This album includes Goldeneye's cover by Tina Turner, from the soundtrack of GoldenEye.
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The work of art is an act of courtship. It is an act of love.” "Mimesis – the psychology of modern painting", Simania, Retrieved 12 November 2014. Vardi developed a teaching method of painting, which was published in his book "Sketch".
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Mimesis is a quarterly literary magazine based in Norwich that deals predominantly with poetry. The magazine was started in 2007. Issues appear in January, April, July and November. The journal stands out for the number of pages filled purely by poems.
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Both Plato and Aristotle saw in mimesis the representation of nature, including human nature, as reflected in the dramas of the period. Plato wrote about mimesis in both Ion and The Republic (Books II, III, and X). In Ion, 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" – techne – of the subject (532c), the poet does not speak truth (as characterized by Plato's account of the Forms). As Plato has it, truth is the concern of the philosopher.
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H. Hunger (2001) Vol. V: Lunar and Planetary TextsP. J. Huber & S. de Meis (2004): Babylonian Eclipse Observations from 750 BC to 1 BC, par. 1.1. IsIAO/Mimesis, Milano It was later known to Hipparchus, PlinyNaturalis Historia II.10[56] and Ptolemy.
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Alla ricerca della soggettività animale, Milano, Mimesis, 2016, . Marchesini focus on subjectivity. To him, subjectivity is foundation to conscience, not the opposite. Animals get constantly engaged from the external world through new occurrences asking for creativity and initiative not explicable with any automatism.
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Vittorio Gnocchini, L'Italia dei Liberi Muratori. Brevi biografie di Massoni famosi, Rome-Milan: Erasmo Edizioni-Mimesis, 2005, p. 22. He left the lodge on February 18, 1923 Rosario F. Esposito, La massoneria e l'Italia. Dal 1800 ai nostri giorni, Rome: Edizioni Paoline, 1979, p. 372.
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Things Hidden Since the Foundation of the World contains a comprehensive overview of Girard's work up to that point, and a reflection on the Judaeo-Christian texts. The book presents a dialogue between Girard and the psychiatrists Jean- Michel Oughourlian and Guy Lefort; the dialogue interrogates and develops Girard's central thesis. Girard's explicates three core mechanisms that govern widespread social interactions: mimesis, the process by which individuals copy one another in escalation, leading to conflict; scapegoating, a process by which collective guilt is transferred onto victims, then purged; and violence. Mimetic theory posits that human behavior is based upon mimesis, and that imitation can engender pointless conflict.
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Tragedy is the imitation of action arousing pity and fear, and is meant to effect the catharsis of those same emotions. Aristotle concludes Poetics with a discussion on which, if either, is superior: epic or tragic mimesis. He suggests that because tragedy possesses all the attributes of an epic, possibly possesses additional attributes such as spectacle and music, is more unified, and achieves the aim of its mimesis in shorter scope, it can be considered superior to epic. Aristotle was a keen systematic collector of riddles, folklore, and proverbs; he and his school had a special interest in the riddles of the Delphic Oracle and studied the fables of Aesop.
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Schizophonic mimesis is a term coined by Steven Feld that describes the separation of a sound from its source, and the recontextualizing of that sound into a separate sonic context. The term in and of itself describes how sound recordings, split from their source through the chain of audio production, circulation, and consumption, stimulate and license renegotiations of identity in an ethnomusicological perspective. The term is composed of two parts: schizophonia and mimesis. Firstly, schizophonia, a term coined by Canadian composer R. Murray Schafer, refers to the split between an original sound and the reproduction/transmission of this sound, be it in a recording, a song, etc.
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I have above- mentioned the most commonly accepted definition of tandava and lasya above. Bose foregrounds the debate between the relation of lasya and tandava critically in his analysis of dance in Sanskrit texts. See Bose, Mandakranta.Movement and Mimesis: The Idea of Dance in the Sanskritic Tradition.
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Margaret Mitchell has critiqued MacdonaldMargaret M. Mitchell, "Homer in the New Testament?" The Journal of Religion 83 (2003): 244-60. in addition to Karl Olav Sandnes.Karl Olav Sandnes, "Imitatio Homeri? An Appraisal of Dennis R. MacDonald's "Mimesis Criticism"", Journal of Biblical Literature 1124/4 (2005) 715–732.
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In Shippey's view, most of The Lord of the Rings is in Romantic mode, with occasional touches of myth, and moments of high and low mimesis to relieve the mood; and Tolkien's ability to present multiple modes at once is a major reason for his success.
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Mimesis has been theorised by thinkers as diverse as Plato, Aristotle, Philip Sidney, Samuel Taylor Coleridge, Adam Smith, Gabriel Tarde, Sigmund Freud, Walter Benjamin, Theodor Adorno, Erich Auerbach, Paul Ricœur, Luce Irigaray, Jacques Derrida, René Girard, Nikolas Kompridis, Philippe Lacoue-Labarthe, Michael Taussig, Merlin Donald, and Homi Bhabha.
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Margaret M. Mitchell, "Homer in the New Testament?" The Journal of Religion 83 (2003): 244-60. MacDonald addresses Mitchell's critiques, as well as earlier criticism from Sandnes,Karl Olav Sandnes, "Imitatio Homeri? An Appraisal of Dennis R. MacDonald's 'Mimesis Criticism,'" Journal of Biblical Literature 124 (2005): 715-32.
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The University of Chicago Press Books. p. 3. Art may be characterized in terms of mimesis (its representation of reality), narrative (storytelling), expression, communication of emotion, or other qualities. During the Romantic period, art came to be seen as "a special faculty of the human mind to be classified with religion and science".
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Inter- and Multidisciplinary Approaches between Society and Space, Springer. Pasta S., Vitale T., 2018, “'Mi guardano male, ma io non guardo’. Come i rom e i sinti in Italia reagiscono allo stigma’, in Alietti A. (a cura di), Società, razzismi e discriminazioni. Studi e ricerche sull'Italia contemporanea, Mimesis, Milano, pp. 217-241. .
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His book Mimesis as Make Believe: On the Foundations of the Representational Arts develops a theory of make-believe and uses it to understand the nature and varieties of representation in the arts.Walton, Kendall L. "Mimesis as Make-Believe: On the Foundations of the Representational Arts". Harvard University Press, 1990 He has also developed an account of photography as transparent, defending the idea that we see through photographs, much as we see through telescopes or mirrors,'Transparent Pictures: On the Nature of Photographic Realism' in Walton, Kendall L., Marvelous Images: On Values and the Arts”, Oxford University Press, 2008, pp. 79-116 and written extensively on pictorial representation, fiction and the emotions, the ontological status of fictional entities, the aesthetics of music, metaphor, and aesthetic value.
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The power of appetitive mimesis in conjunction with the threat of violence is such that the central object begins to assume a sacred aura – infinitely desirable and infinitely dangerous. Mimesis thus gives rise to a pragmatic paradox: the double imperative to take the desired object for personal gain, and to refrain from taking it to avoid conflict. In other words, imitating the rival means not imitating the rival, because imitation leads to conflict, the attempt to destroy rather than imitate (Gans, Signs of Paradox 18). Generative Anthropology theorizes that when this mimetic instinct becomes so powerful that it seems to possess a sacred force endangering the survival of the group, the resultant intra- species pressure favours the emergence of the sign.
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The mimetic theory of desire is an explanation of human behavior and culture which originated with the French historian and polymath René Girard. The name of the theory is derived from the philosophical concept mimesis (/mɪˈmiːsɪs, mə-, maɪ-, -əs/;[1] Ancient Greek: μίμησις mīmēsis, from μιμεῖσθαι mīmeisthai, "to imitate"), which carries a wide range of meanings. In mimetic theory, mimesis refers to human desire, which Girard thought was not linear but the product of a mimetic process in which people imitate models who endow objects with value. Girard called this phenomenon mimetic desire. Girard described mimetic desire as the foundation of his theory: “Man is the creature who does not know what to desire, and he turns to others in order to make up his mind.
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The distinction is no longer operative in the Lehrstücke, Brecht argues. The primary purpose, intention, or goal of these performances is for the actors to acquire attitudes (rather than to consume an entertainment). This relates to Brecht's theory of Gestus, his substitution for traditional drama's mimesis. The relation to reality is a critical one.
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In her 2008 book Other Asias, Spivak disavowed the term, indicating her dissatisfaction with how the term has been deployed in nationalist enterprises to promote (non-strategic) essentialism. The concept also comes up regularly in queer theory, feminist theory, deaf studies, and specifically in the work of Luce Irigaray, who refers to it as mimesis.
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The appeal to broader psychological factors in qualifying depictive resemblance is echoed in the theories of philosophers such as Robert Hopkins,Hopkins, Robert (1998), Picture, Image, and Experience (Cambridge: Cambridge University Press). Flint SchierSchier, Flint (1986), Deeper Into Pictures (Cambridge: Cambridge University Press). and Kendall Walton.Walton, Kendall (1990), Mimesis as Make-believe (Cambridge, Mass.
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Thus, there are two distinct active voices: that of the narrator and that of the reportee. Written English often employs manner-of-speaking verbs or verba dicendi in conjunction with quotation marks to demarcate the quoted content. Speakers use more subtle phonetic and prosodic cues like intonation, rhythm, and mimesis to indicate reported speech.
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This chapter of the Invasion expansion also brought with it other new features too, including Shareable Bookmarks. This new addition allowed players to share specific locations in New Eden with alliance members and anyone else they choose, with control over access and duration. The Mimesis Implant set was also added to the Loyalty Points store.
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Erich Auerbach (November 9, 1892 - October 13, 1957) was a German philologist and comparative scholar and critic of literature. His best-known work is Mimesis: The Representation of Reality in Western Literature, a history of representation in Western literature from ancient to modern times and frequently cited as a classic in the study of realism in literature.
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He also holds the poet in high regard, as opposed, for instance, to Plato, who distrusts mimesis and who has philosopher Socrates say in Book 10 of the Republic that he would banish poets from the ideal state.The Norton Anthology of Theory and Criticism, ed. by Vincent B. Leitch et al. New York: W.W. Norton & Co., 2001, p.
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The game features a 3D interface and video, through partnership with Dailymotion. In 2011, many brands such as Puma and SFR integrated Mamba Nation as a part of their social communication tools. Mimesis Republic is now an internationally known brand name. The company is supported by funding from companies such as Kima Ventures, Artemis, Jaina Capital, and Dotcorp.
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This aspect was first explored by Johan Huizinga (in Homo Ludens, 1938) and Roger Caillois (in Man, Play and Games, 1958).Pavis (1998, 8). Caillois, for example, distinguishes four aspects of play relevant to acting: mimesis (simulation), agon (conflict or competition), alea (chance), and illinx (vertigo, or "vertiginous psychological situations" involving the spectator's identification or catharsis).
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Her graceful, flowing arrangements were natural and poetic. Portrait of Paolo Morigia (1596) was painted when Galizia was only eighteen. Each detail of the figure is painted in analytic detail. Galizia employs mimesis (imitation of reality), in the depiction of Morigia’s glasses: lenses' reflection shows the room Morigia is sitting in, and thus heightening the illusion of reality.
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Head Elaphe climacophora by Kawahara Keiga, 1823-1829 Adults reach one to two meters in length and about five centimeters in girth. E. climacophora is the largest Japanese snake outside Okinawa. They are variable in color, ranging from pale yellow-green to dark blue-green. Juveniles have brown-stripe pattern that may be mimesis of the venomous mamushi.
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Within Plato's framework, these pure forms of reality are determined by a demiurge, but the Christian interpretation of Plato by Augustine and Dionysius holds that the forms mirror the perfection of God's own mind. This notion underlies the more significant notion of mimesis, whereby art and material beauty are considered the mere reflection of the beauty of that realm.
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Mimesis and Alterity looks primarily at the way people from different cultures experience the two themes of the book – how we come to adopt or assimilate another's nature or culture (mimesis), and also how we come to identify/distance ourselves with/from it (alterity). Taussig studies this phenomenon through ethnographical accounts of the Cuna, and through the ideas of Walter Benjamin. The Cuna have adopted a set of wooden figurines for magical ritual that look remarkably like white colonists, to the point of sometimes being recognizable as figures from history that traveled through those parts. If you asked one of the Cuna about the figurines, he would likely deny all connection between the two, creating an epistemic dilemma where something that may appear obvious to anthropologists is anything but obvious to those they study.
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She is fluent in multiple genres, including essays, novels, poems, and stories. She has worked as a literary translator and a teacher of creative writing. One of her best known works is the novel Kirschholz und alte Gefühle (A Cherrywood Table) which received the EU Prize for Literature. The novel has been translated into Italian by S. Zangrando for Mimesis (2017).
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Gail Jones was born in Harvey, Western Australia. She grew up in Broome and Kalgoorlie. She studied fine arts briefly at the University of Melbourne before returning to Western Australia where she took her undergraduate degree and PhD from the University of Western Australia in 1994. Her thesis was on Mimesis and alterity : postcolonialism, ethnography and the representation of racial òthers'.
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The social game Mamba Nation, published by Mimesis Republic in early 2012, attracted over 400,000 between the ages of 13-25 in France alone. Free accessibility via Facebook enables Mamba Nation users to create, develop, personalize and share avatars that they control, within the universe in which the game takes place. A chat function allows users talk to each other while they play.
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"Jeanne Silverthorne," Art in America, November 1994. Conceptually, this work investigates metaphors for the human body and its systems, the artist's creative process and psyche, decay, and the exhaustion of studio-art conventions of authorship and the hand, mastery and mimesis, originality, and timelessness;Baker, Kenneth. "Silverthorne Pipes Meaning into Existential Sculptures," San Francisco Chronicle, September 1, 2002, p. D10.Weiner, Daniel.
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The family Phylliidae (often misspelled Phyllidae) contains the extant true leaf insects or walking leaves, which include some of the most remarkably camouflaged leaf mimics (mimesis) in the entire animal kingdom. They occur from South Asia through Southeast Asia to Australia. Earlier sources treat Phylliidae as a much larger taxon, containing genera in what are presently considered to be several different families.
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The zone-tailed hawk resembles the turkey vulture in flight. Mimesis or cryptic aggressive mimicry is where the predator mimics an organism that its prey is indifferent to. Unlike in all cases above, the predator is ignored by the prey, allowing it to avoid detection until the prey are close enough for the predator to strike. This is effectively a form of camouflage.
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She was born in Maribor and currently lives in Berlin. She is best known for her novel Nebesa v robidah: roman v zgodbah (Heaven in a blackberry bush: a novel in stories). It was nominated for the Kresnik Prize for best Slovenian novel and won the EU Prize for Literature in 2010. It was translated into Italian 2016 for Mimesis edizioni.
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Mimetic (imitatory) behaviour connects proto-hominid species with humans. Imitation is an adaptive learning behavior, a form of intelligence favored by natural selection. Imitation, however, as René Girard observes, leads to conflict when two individuals imitate each other in their attempt to appropriate a desired object. The problem is to explain the transition from one form of mimesis, imitation, to another, representation.
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The Französisches Gymnasium () is a long-existing francophone gymnasium in Berlin, Germany. Traditionally, it is widely regarded as an elite high school. Erich Auerbach, Edward W. Said, Mimesis: The Representation of Reality in Western Thought, Princeton University Press, 1953/2003, Introduction, p.X. Klemens von Klemperer, Voyage Through the Twentieth Century: A Historian's Recollections and Reflections, Berghahn Books, 2009, p. 12.
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To Double Business Bound: Essays on Literature, Mimesis, and Anthropology. Baltimore: Johns Hopkins University Press. p. 200. With the post-Lacanian fissiparous tendencies of his "schools", the term can perhaps return to the general culture, as when the philosopher Gilles Deleuze (1972) defines the imaginary "by games of mirroring, of duplication, of reversed identification and projection, always in the mode of the double,"Deleuze, Gilles. 2004 [1972].
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But this is not yet reason, because human imagination is different. The recent modern writings of Terrence Deacon and Merlin Donald, writing about the origin of language, also connect reason connected to not only language, but also mimesis.Mimesis in modern academic writing, starting with Erich Auerbach, is a technical word, which is not necessarily exactly the same in meaning as the original Greek. See Mimesis.
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The concept of skeuomorphism overlaps with other design concepts. Mimesis is an imitation, coming directly from the Greek word. Archetype is the original idea or model that is emulated, where the emulations can be skeuomorphic. Skeuomorphism is parallel to, but different from, path dependence in technology, where an element's functional behavior is maintained even when the original reasons for its design no longer exist.
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Icastic imitation refers to the recreation of something based in reality – a simulation of a real person or the creation of a character based on a real person is icastic imitation. Phantastic imitation is the imitation of something completely the artist's imagination.Montgomery, 8 This distinction would play an important role in Mazzoni's On the Defense of the Comedy of Dante, in which he would argue that the work, being allegorical and based in a divine vision, was icastic mimesis because it imitates something “real.” This was meant to counter arguments by writers such as Castravilla who dismissed Dante’s work as lacking in verisimilitude and even claimed that the comedy was not poetry at all, as it was simply the recounting of a vision.Hathaway, 69–70 Under Mazzoni’s definitions, these were not valid criticisms, as poetry was essentially mimesis made “persuasive” by the use of craft or art.
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Peccarisi, C., Boeri, R., Salmaggi, A. (1994). In 1907 he became secretary-general of the Società Italiana di Neurologia Cfr. Salomone, G., Arnone, R., Zanchin, G. (1996) and was initiated into the 'Universo' Masonic Lodge in Rome V. Gnocchini, L'Italia dei Liberi Muratori, Mimesis-Erasmo, Milano-Roma, 2005, p.263.. In 1929 Tanzi, Charles Scott Sherrington and Ivan Pavlov were made honorary members of the British Royal College of Psychiatry.
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In sociology, Habitus () comprises socially ingrained habits, skills and dispositions. It is the way that individuals perceive the social world around them and react to it. These dispositions are usually shared by people with similar backgrounds (such as social class, religion, nationality, ethnicity, education and profession). The habitus is acquired through imitation (mimesis) and is the reality in which individuals are socialized, which includes their individual experience and opportunities.
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During the Postwar period, there was a return of traditional values that reinstated social roles, conforming race and gender within the public sphere.Potts, Alex. "The Image Valued 'As Found' And The Reconfiguring Of Mimesis In Post-War Art." Pg. 778 Marisol's sculptural works toyed with the prescribed social roles and restraints faced by women during this period through her depiction of the complexities of femininity as a perceived truth.
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Abrams shows that until the Romantics, literature was typically understood as a mirror reflecting the real world in some kind of mimesis; whereas for the Romantics, writing was more like a lamp: the light of the writer's inner soul spilled out to illuminate the world. In 1998, Modern Library ranked The Mirror and the Lamp one of the 100 greatest English-language nonfiction books of the 20th century.
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Literary criticism is thought to have existed as long as literature. In the 4th century BC Aristotle wrote the Poetics, a typology and description of literary forms with many specific criticisms of contemporary works of art. Poetics developed for the first time the concepts of mimesis and catharsis, which are still crucial in literary studies. Plato's attacks on poetry as imitative, secondary, and false were formative as well.
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Ruthven (1979) pp. 103–4 For Dionysian imitatio, the object of imitation was not a single author but the qualities of many.West (1979) pp.5–8 Latin orators and rhetoricians adopted the literary method of Dionysius' imitatio and discarded Aristotle's mimesis; the imitation literary approach is closely linked with the widespread observation that "everything has been said already", which was also stated by Egyptian scribes around 2000 BCE.
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On 15 August 1896, in connection with the solemn commemoration of Mamiani decreed by the city of Pesaro, the "11 September 1860" Masonic Lodge made public his membership of freemasonry and on 20 August that year had affixed to his monument a bronze crown with the wording "To Brother Terenzio Mamiani, the Freemasonry of Italy".V. Gnocchini, L'Italia dei Liberi Muratori, Mimesis- Erasmo, Milano-Roma, 2005, pp.175-176.
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Gunter Gebauer and Christoph Wulf, Mimesis: Culture, Art, Society, translated by Don Reneau (University of California Press, 1996), p. 81 online. But of the Italian literary critics, only Maranta makes a point of insisting on the superiority of poetry to both rhetoric and history. In this regard, he has been compared to Philip Sidney, although his work was not likely to have been known by the English poet and critic.
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Aristotle divides the art of poetry into verse drama (to include comedy, tragedy, and the satyr play), lyric poetry, and epic. The genres all share the function of mimesis, or imitation of life, but differ in three ways that Aristotle describes: # Differences in music rhythm, harmony, meter and melody. # Difference of goodness in the characters. # Difference in how the narrative is presented: telling a story or acting it out.
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Gerald Frank Else (July 1, 1908 – 6 September 1982) was a distinguished American classicist. He was professor of Greek and Latin at University of Michigan and University of Iowa. Else is substantially credited with the refinement of Aristotelian scholarship in aesthetics in the 20th century to expand the reading of catharsis alone to include the aesthetic triad of mimesis, hamartia, and catharsis as all essentially linked to each other.Golden, Leon.
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Deafheaven / Bosse-de-Nage is a split EP between the American, San Francisco Bay Area black metal bands Deafheaven and Bosse-de-Nage. The album was released in an LP format through The Flenser on November 20, 2012. Deafheaven contributed a cover of the post-rock band Mogwai's "Punk Rock" and "Cody" from their 1999 album Come On Die Young, while Bosse-de-Nage contributed the original composition, "A Mimesis of Purpose".
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During that time he wrote several symphonies, church cantatas, and arias, as well as a fragmentary Singspiel entitled Das Orackle. Hiller also published an essay on the Mimesis of Nature in Music (Abhandlung über die Nachahmung der Natur in der Musik) in 1754. That year he got his first break when he became steward and tutor to the son of Count Brühl in Dresden. He accompanied the Count to Leipzig in 1758.
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Auerbach's life and work in Turkey is detailed and placed in historical and sociological context by Kader Konuk, East West Mimesis: Auerbach in Turkey (2010). He moved to the United States in 1947, teaching at Pennsylvania State University and then working at the Institute for Advanced Study. He was appointed professor of Romance philology at Yale University in 1950, a position he held until his death in 1957 in Wallingford, Connecticut.Wellek, 1958.
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Neil Salley standing in front of Earolin inside of Musée Patamécanique museum. Much of the material in Musée Patamécanique has clear ties to Dada and Theater of the Absurd. The work also references postmodern literature, novelty architecture, theories of memory, identity, automata and mimesis, perception, and Pataphysics. The new version of the museum encompasses tours of both outdoor and indoor exhibition environments, all within a 6 block area in the center of downtown Bristol.
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As already mentioned, Aristotle wrote the first critical study of the tragedy: the Poetics. He uses the concepts of mimesis (, "imitation"), and catharsis or katharsis (, "cleansing") to explain the function of tragedy. He writes: "Tragedy is, therefore, an imitation (mimēsis) of a noble and complete action [...] which through compassion and fear produces purification of the passions." Whereas mimēsis implies an imitation of human affairs, catharsis means a certain emotional cleansing of the spectator.
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According to Plato, lexis is the manner of speaking. Plato said that lexis can be divided into mimesis (imitation properly speaking) and diegesis (simple narrative). Gerard Genette states: "Plato's theoretical division, opposing the two pure and heterogeneous modes of narrative and imitation, within poetic diction, elicits and establishes a practical classification of genres, which includes the two distinct modes...and a mixed mode, for example the Iliad"."Boundaries of a Narrative," New Literary History, Vol.
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8, No. 1, Readers and Spectators: Some Views and Reviews (Autumn, 1976), pp. 1–13. JSTOR. p. 2 In the Iliad, a Greek epic written by Homer, the mixed mode is very prevalent. According to Gerald Prince, diegesis in the Iliad is the fictional storytelling associated with the fictional world and the enacting/re-telling of the story. Mimesis in the Iliad is the imitation of everyday, yet fantastical life in the ancient Greek world.
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As such, Herseni made explicit references to "national psychology", linguistic determinism, and national "rhythms" of creativity, referencing the anthropological theories of Wilhelm Wundt, Franz Boas, George Murdock, and Edward Sapir.Stăvărache, pp. 163–166, 170–176 He argued that structuralism was a relevant paradigm for the study of culture, but only if subsumed to "national specificity".Stăvărache, pp. 170, 172–174 Overall, Herseni argued that art and literature were collective in nature, originating from "imitation" (or mimesis) rather than sublimation.
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"(...) Mi viene l'acquolina in bocca pensando alle ghiotte discussioni che faremo quando ci ritroveremo insieme", cfr. Angelo Cannatà "Eugenio Scalfari e il suo tempo", Mimesis, 2010, p. 105. In 1950 Scalfari married Simonetta, daughter of the journalist Giulio De Benedetti; she died in 2006. From the end of the seventies Scalfari was romantically linked to Serena Rossetti, former editorial secretary of L'Espresso (and later of La Repubblica), whom he married after the death of his wife Simonetta.
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The name of Vittorio Alfieri was never registered in the official publications of the Piedmont Freemasonry. It is proved Alfieri was initiated in the regular Masonic Lodge "Vittoria" of Naples which was an obedience of the Gran Loggia Nazionale "Lo Zelo", founded in 1874-185 by aristocrat Freemasons closely linked to the queen Maria Carolina of Austria.^Vittorio Gnocchini, L'Italia dei Liberi Muratori. Brevi biografie di Massoni famosi, Roma-Milano, Erasmo Edizioni-Mimesis, 2005, p. 9.
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One can argue that Abdel Rahman Sartre's glamorized intellectual stature is pathologically extreme as he nominates himself the look-alike of the original. Abdel Rahman Sartre does not fully embrace the francophone world-he would have been unable to with his linguistic inadequacies-he only embraces one aspect of it and imagines the rest. In other words, the parody is not a total mimesis. His Existentialism, as shallow a version as it may be, legitimizes way of life.
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All forms of cinema or television that involve fictional stories are forms of drama in the broader sense if their storytelling is achieved by means of actors who represent (mimesis) characters. In this broader sense, drama is a mode distinct from novels, short stories, and narrative poetry or songs.Elam (1980, 98). In the modern era before the birth of cinema or television, "drama" within theatre was a type of play that was neither a comedy nor a tragedy.
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Laura Demofonti, La riforma nell'Italia del primo Novecento: gruppi e riviste di ispirazione evangelica, Rome: Edizioni di Storia e Letteratura, 2003, series Centro Alti Studi in Scienze Religiose (vol. 1), p. 27, footnote 5. In 1879, he was a co-founder of the Masonic Lodge "Pontida" in Bergamo that he joyned untill 1906 when he was initiated to the regular lodge "Carlo Cattaneo" in Milan.Vittorio Gnocchini, L’Italia dei Liberi Muratori, Milan-Rome: Mimesis-Erasmo, 2005, pp. 145-146.
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Milan: Mimesis 2005: 9-12 In the Summa theologiae magnificence is a virtue that belongs to God, which can also be shared by men (Summa, IIa IIae q. 134 art. 1). Aquinas adopts Cicero's definition of magnificence, highlighting how it consists in doing great things. Magnificence belongs to the virtue of fortitude, or courage, because it regards the undertaking of great things and actions, and persevering even when circumstances can make their realization arduous (Summa, IIa IIae q.
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Domenico V. Ripa Montesano, Vademecum di Loggia, Rome: Edizione Gran Loggia Phoenix, 2009, .Vittorio Gnocchini, L'Italia dei Liberi Muratori, Mimesis-Erasmo, Milan-Rome, 2005, p.145. On 12 May 1725, he became companion and Grand Master in the same day. On 11 May 1728, the Grand Master of the Premier Grand Lodge of England William Reid designated the brothers Geminiani for constituting in Naples the first Italian regular masonic Lodge, directly affiliated to the English Freemasonry.
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139 Transcending this "dark circumstance of composition,"Delbanco,The Art of Youth, p. 66-67 Crane had a particular telos and impetus for his creation: beyond the tautologies that all art is alterity and to some formal extent mimesis, Crane sought and obviously found "a form of catharsis" in writing.Sorrentino, Life of Fire, p. 131 This view accounts for his uniqueness, especially as operative through his notorious "disgust" with his family's religion,Beer, The Mauve Decade, p.
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The system is able to gather and display thermal images while the vehicle is moving. The result is to "cloak" the vehicle from detection by heat-detecting night vision devices (thermographic camera systems). For crypsis, the panels can display an infrared image of the vehicle's background; this can be updated as the vehicle moves. For mimesis, an image of a chosen object, such as a car, can be retrieved from Adaptiv's library and superimposed on the background.
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Ferraro named the album, given that the company's works were the "mimesis of our reality." He said, "we aggressively celebrate Pixar's cloud-like performance of human emotion, building emotional relationships with CGI characters and accepting them as powerful vehicles of meaningfulness. I personally see them as a marker of the hyper-individualistic age we live in." The instrumental backing often moves into separated moods, repetitive structures and pauses throughout each song, along with abrupt key changes which signify dissonance.
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Mitchell, W, "Representation", in F Lentricchia & T McLaughlin (eds), Critical Terms for Literary Study, University of Chicago Press, Chicago 1990 Aristotle deemed mimesis as natural to man, therefore considered representations as necessary for people's learning and being in the world. Plato, in contrast, looked upon representation with more caution. He recognised that literature is a representation of life, yet also believed that representations intervene between the viewer and the real. This creates worlds of illusion leading one away from the "real things".
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Cancer forced her to resign in 2003 as president of the American Musicological Society. Her book The Secular Commedia: Comic Mimesis in Late Eighteenth-Century Music was completed by her colleagues Mary Ann Smart and Richard Taruskin based on the content of her "Bloch lectures," delivered in fall 1994 at UC Berkeley, and was published in 2014 by the University of California Press. Allanbrook died of cancer at age 67 on July 15, 2010, at her home in Oakland, California.
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Literary critic Thomas Pavel argues that the fictional world deserves to be examined on its own terms rather than merely through the lens of mimesis. His thesis serves as a critique of Structuralism by its insistence on the idea that narrativity, as a fundamental aspect of fiction, removes the possibility of pure imitation of the actual world. Pavel’s theory thus departs from the main ideas of other fiction theorists because he separates literature from its referential relationship to the actual world.
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It was probably influenced by the padams composed by the seventeenth-century poet Kṣetrayya and may have been influenced by the seventeenth-century Satyabhāma Sāntvanamu ('Appeasing Satyabhāmā') by Liṅganamakhi Śrīkāmeśvara Kavi.Davesh Soneji, Performing Satyabhimi: Text, Context, Memory and Mimesis in Telugu- Speaking South India (unpublished PhD thesis, McGill University 2004), pp. 58, 61 fn 39. The poem is framed as a dialogue between two legendary wise men: Vyasa's son Maharishi Suka (or Suka Muni) and the philosopher-king Janaka.Muddupalani. (2011).
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Güzin Dino (1910 – May 30, 2013) was a Turkish literary scholar, linguist, translator and writer. She is known for writing from a Marxist perspective.Kader Konuk East West Mimesis: Auerbach in Turkey 2010- Page 263 "Interesting is specifically Güzin Dino's work on Namık Kemal's (1840–1888) literature written in exile. Approaching Turkish literature from a Marxist point of view, she argues in The Birth of the Turkish Novel that Kemal's Intibah (Awakening) is ..." She was married with the painter Abidin Dino (1913–1993).
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Due to the same terms being applied to certain approaches to acting that contradict the broader theatrical definitions, however, the terms have come to acquire often overtly contradictory senses. In the most common sense (that which relates the specific dynamics of theatre to the broader aesthetic category of 'representational art' or 'mimesis' in drama and literature), the terms describe two contrasting functional relationships between the actor and the audience that a performance can create.Elam , Keir. 1980. The Semiotics of Theatre and Drama.
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His treatise On Dancing is a major source of information about Greco-Roman dance. In it, he describes dance as an act of mimesis ("imitation") and rationalizes the myth of Proteus as being nothing more than an account of a highly skilled Egyptian dancer. He also wrote about visual arts in Portraits and On Behalf of Portraits. Lucian's biography of the philosopher Demonax eulogizes him as a great philosopher and portrays him as a hero of parrhesia ("boldness of speech").
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In 2014, a German edition of "The Coming", "Die Ankunft", was published by Voland & Quist. His first critically acclaimed novel "Mimesis" was very well received in Croatia, Bosnia and among liberal Montenegrin intellectuals, where local independent media compares his expression and attitude to the one of Thomas Bernhard. He wrote columns for pro-independence Montenegrin publications such as Vijesti daily newspaper, Monitor weekly newsmagazine (from 2002 until 2009), and Crnogorski književni list weekly newspaper, as well as Bosnian weekly newsmagazine Slobodna Bosna.
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As critic Philip Walker says of Zola, "In page after page, including many of his most memorable writings, we are presented with what amounts to a mimesis of the interplay between sensation and imagination which Taine studied at great length and out of which, he believed, emerges the world of the mind." The Spanish philosopher, Miguel de Unamuno, was fascinated with both Zola and Taine early on (although he eventually concluded that Taine's influence on literature had been negative).Basdekis, Demetrios (1973).
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The sampling of the melody in "Pygmy Lullaby" demonstrates further schizophonic mimesis. # In 1966, ethnomusicologist Simha Arom recorded a particular style of music from the Ba- Benzélé Pygmies called Hindewhu, which consists of making music with a single- pitch flute and the human voice. Soon after, Herbie Hancock adapted the Hindewhu style by using a beer bottle instead of a flute in his 1973 remake of "Watermelon Man". Then, Madonna's song "Sanctuary" from the 1994 album Bedtime Stories sampled Hancock's adaptation of Hindewhu.
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A number of publications and debates centered on the book.such as in Dean and Passavant edited volume, "Empire's New Clothes: Reading Hardt and Negri," Routledge, 2003. Elia Zaru's book is an attempt to summarize the academic debate following the release of Empire "La postmodernità di «Empire»," Mimesis Edizioni, 2018. Hardt and Negri's theoretical approach has also been compared and contrasted with works of 'the global capitalism school' whose authors have analyzed transnational capitalism and class relations in the global epoch.
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In 1907, Cavallero was initiated in the regular Masonic Lodge "Dante Alighieri" of Turin, which was affiliated to the Grand Orient of Italy.Vittorio Gnocchini, L'Italia dei Liberi Muratori, Mimesis-Erasmo, Milan- Rome, 2005, p. 65. Subsequently, he become a member of the Scottish Rite Serenenissima Gran Loggia d'Italia located in Rome, where on 15 August 1918 he received the 33rd and highest degree.Luigi Pruneti, ììAquile e Corone, L'Italia il Montenegro e la massoneria dalle nozze di Vittorio Emanuele III ed Elena al governo Mussolini, Florence.
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Illusionism in art history means either the artistic tradition in which artists create a work of art that appears to share the physical space with the viewer"Illusionism," Grove Art Online. Oxford University Press, [accessed 17 March 2008]. or more broadly the attempt to represent physical appearances precisely – also called mimesis. The term realist may be used in this sense, but that also has rather different meanings in art, as it is also used to cover the choice of ordinary everyday subject-matter, and avoiding idealizing subjects.
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These plans are outlined in a 2016 article on the Film New Europe website and the Mimesis Film website. Freeman has taught music history at the University of Illinois, the University of Southern California, and the University of Minnesota, where he is a lecturer. Since 2002, he has appeared frequently as a resident associate of the Smithsonian Institution. His research has been supported by grants from the International Research & Exchanges Board, the American Council of Learned Societies, the Newberry Library, and the National Endowment for the Humanities.
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The novelist Caryl Phillips stated in 2003 that: "Achebe is right; to the African reader the price of Conrad's eloquent denunciation of colonisation is the recycling of racist notions of the 'dark' continent and her people. Those of us who are not from Africa may be prepared to pay this price, but this price is far too high for Achebe". More recent critics have stressed that the "continuities" between Conrad and Achebe are profound and that a form of "postcolonial mimesis" ties the two authors.
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Nicolas Gaume (born 7 February 1971) is a French entrepreneur and video games creator. In May 2009 he became the CEO of Mimesis Republic and president of the French National Union of Video Games. He is also known for being the founder of Kalisto Entertainment, and was the head of the company between 1990 and 2002. Gaume is the son of one of the hoteliers of Arcachon, and is the great-grandson of Louis Gaume, a real estate developer known for developing the Pyla in 1920.
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Camouflage allows animals like this disruptively-patterned spider to capture prey more easily. Many animals have evolved so that they visually resemble their surroundings by using any of the many methods of natural camouflage that may match the color and texture of the surroundings (cryptic coloration) and/or break up the visual outline of the animal itself (disruptive coloration). Such animals may resemble rocks, sand, twigs, leaves, and even bird droppings (mimesis). Other methods including transparency and silvering are widely used by marine animals.
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He describes his poetry as a mimesis of the streaming of Being through Nonbeing. He intends a continuous poetic flow that pauses but seldom stops, so that his line-breaks become purely visual and do not halt the progress of the poetic line when spoken. He means for his poetry to affirm with Aristotle that truth is most universally told through a blend of fictional and factual material. He conceives each poem as an essay of existential discovery, an enterprising foray into the discursive wilderness.
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He has held visiting positions at the Universities of Nova Gorica, Koper and Maribor. His fields of specialization in research and graduate teaching are European and Slovenian historical Avant-Garde. His extensive monograph on the Slovene avant-garde poet Srečko Kosovel (2011) brought new findings on the influence of Russian Constructivism on its wider European counterpart. His scholarship focuses on the history of the epic, tragedy and novel from Classical Antiquity onwards and on the basic literary concepts such as mimesis, catharsis and inspiration.
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Often critics will comment on the novel's multiple endings. Each offers a possible ending for Charles's pursuit of Sarah: the first ends with Charles married to Ernestina, the second with a successful reestablishment of a relationship with Sarah, and the third with Charles cast back into the world without a partner. Michelle Phillips Buchberger discusses these endings as a demonstration of "Fowles's rejection of a narrow mimesis" of reality; rather Fowles presents this multiplicity of endings to highlight the role of the author in plot choices.Buchberger 147.
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This connection with play as an activity was first proposed by Aristotle in his Poetics, in which he defines the desire to imitate in play as an essential part of being human and our first means of learning as children: > For it is an instinct of human beings, from childhood, to engage in mimesis > (indeed, this distinguishes them from other animals: man is the most mimetic > of all, and it is through mimesis that he develops his earliest > understanding); and equally natural that everyone enjoys mimetic objects. > (IV, 1448b)Halliwell (1995, 37). This connection with play also informed the words used in English (as was the analogous case in many other European languages) for drama: the word "play" or "game" (translating the Anglo-Saxon plèga or Latin ludus) was the standard term used until William Shakespeare's time for a dramatic entertainment—just as its creator was a "play-maker" rather than a "dramatist", the person acting was known as a "player", and, when in the Elizabethan era specific buildings for acting were built, they was known as "play-houses" rather than "theatres."Wickham (1959, 32—41; 1969, 133; 1981, 68—69).
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" Erich Auerbach goes into depth about his belief that one must look for both starting points and concrete details from which the "global process can be inductively reconstructed." In the conclusion to Auerbach's Mimesis, he stated "The ongoing unification of the world is most concretely visible now in the unprejudiced, precise, interior and exterior representation of the random moment in the lives of different people.” It is the same kind of class struggle approach in the cultural field that they had taken in the economic field, assembling the shortcoming against the privileged.
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His first book was a collection of poems Pjesme u nastajanju (Acquired Poems, 2000). His short story collection Pod pritiskom (Under Pressure) was published in 2004 and won the Zoro Verlag Prize. The English translation of Under Pressure was published in May 2019 by Istros Books. His debut novel Knjiga o Uni (Quiet Flows the Una, 2011), was translated into English in 2016 by Istros Books and into Italian in 2017 by E. Mujčić (Il mio fiume) for Mimesis, and also into Romanian, Bulgarian, Spanish, Macedonian, Arabic, Dutch, Polish, Slovenian and Hungarian language.
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In 1984 this dispute entered the national discourse in South Korea.Pak Gloria L (2006): "On the Mimetic Faculty: A Critical Study of the 1984 Ppongtchak Debate and Post- Colonial Mimesis", in: Korean Pop Music: Riding the Wave, edited by Keith Howard, pp. 62-71, Folkestone, Kent: Global Oriental.The course of debate is briefly summarized in the article (pp. 48-49) by Son Min-jung (October 2013): "Self and Others in the Studies of Korean Popular Music: a Case Study of T’ŭrot’ŭ", The Journal of Aesthetics and Science of Art, Vol.
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"Harih Om" is akin to saying that all creation that we can see is in fact, a mirroring of the One Self. This is not the concept of mimesis as found in Western philosophy. Hari in Purusha Suktam, Narayana Suktam and Rudra Suktam is usually depicted as having a form with countless heads, limbs and arms (a way of saying that the Supreme Being is everywhere and cannot be limited by conditional aspects of time and space). Lord Hari is also called sharangapani as he also wields a bow named as sharanga.
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According to various reports, the Rood was able to move, shed tears, foam at the mouth, turn and nod its head, and make various facial expressions.Kara Reilly, "Automata and Mimesis on the Stage of Theatre History" (Palgrave Macmillan, 2011) p 20; 23 After the dissolution of the monasteries, the Rood was paraded around various market towns, including Maidstone, Kent. On 12 February 1538 John Hilsey, Bishop of Rochester, denounced the Rood of Grace as a fraud, exhibited its machinery and broke it to pieces.Robert Hutchinson, Thomas Cromwell (2007), pp. 162-163.
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The interplay between western and eastern notions of religion is an important factor in the development of modern mysticism. In the 19th century, when Asian countries were colonialised by western states, a process of cultural mimesis began. In this process, Western ideas about religion, especially the notion of "religious experience" were introduced to Asian countries by missionaries, scholars and the Theosophical Society, and amalgamated in a new understanding of the Indian and Buddhist traditions. This amalgam was exported back to the West as 'authentic Asian traditions', and acquired a great popularity in the west.
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The opening up of different ways in experiencing the world includes a shift in the place of art. Instead of mimesis, the retelling of the Christian world-view through its standard symbols and reference points, we have a creative art that must develop its own reference points. Artists "make us aware of something in nature for which there are as yet no established words... In this 'subtler language'... something is defined and created as well as manifested." (p. 353) This applies to poetry, painting, and music taking an "absolute" turn, decoupled from story and representation.
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Deception in animals is the transmission of misinformation by one animal to another, of the same or different species, in a way that propagates beliefs that are not true. Deception in animals does not automatically imply a conscious act, but can occur at different levels of cognitive ability. Mimicry and camouflage enable animals to appear to be other than they are. Prey animals may appear as predators, or vice versa; both predators and prey may be hard to see (crypsis), or may be mistaken for other objects (mimesis).
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Iconic coding principles may be natural tendencies in language and are also part of our cognitive and biological make-up. Whether iconicity is a part of language is an open debate in linguistics. For instance, Haspelmath has argued against iconicity, claiming that most iconic phenomena can be explained by frequency biases: since simpler meanings tend to be more frequent in the language use they tend to lose phonological material. Onomatopoeia (and mimesis more broadly) may be seen as a kind of iconicity, though even onomatopoeic sounds have a large degree of arbitrariness.
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Split Britches is an American performance troupe, which has been producing work internationally since 1980. Academic Sue Ellen Case says "their work has defined the issues and terms of academic writing on lesbian theater, butch- femme role playing, feminist mimesis, and the spectacle of desire".Split Britches: Lesbian Practice/Feminist Performance, edited by Sue-Ellen Case, Routledge, 1997. In New York City Split Britches have long standing relationships with La Mama Experimental Theatre Company, where they are a resident company, Wow Café, which Weaver and Shaw co-founded, and Dixon Place.
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As the last male of the family he inherited all the assets of both his father and his uncles. On 5 December 1861 he was admitted to the Freemasonry in the Florentine Lodge "Concordia", of which he was a full member until 1891, the year in which he became honorary, while continuing to pay his contributions to the Lodge until his death. In 1866 he was a volunteer in the Garibaldi army at Condino, where he gained a silver medal.V. Gnocchini, L'Italia dei Liberi Muratori, Mimesis- Erasmo, Milano-Roma, 2005, p.261.
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In animal behaviour, thanatosis (from the Greek noun , meaning "putting to death"; cf. : Thanatos) is the process by which an animal feigns death in order to evade unwelcome attention. It can be for various reasons, such as that of a prey evading a predator, a male trying to mate with a female, or a predator trying to lure potential prey closer. The French biologist Georges Pasteur classifies it as a form of self-mimesis, a form of camouflage or mimicry in which the "mimic" imitates itself in a dead state.
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Aristotle's Poetics is often referred to as the counterpart to this Platonic conception of poetry. Poetics is his treatise on the subject of mimesis. Aristotle was not against literature as such; he stated that human beings are mimetic beings, feeling an urge to create texts (art) that reflect and represent reality. 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.
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In the Baroque and Classical periods of music, music (and aesthetics as a whole) was strongly influenced by Aristotle's theory of mimesis. Art represented the perfection and imitation of nature, speech and emotion. As speech was taken as a model for music, composition and performance in the Baroque period were strongly influenced by rhetoric. According to what has become known as the theory of affect, a musician was expected to stir feelings in his audience in much the same way as an orator making a speech in accordance with the rules of classical rhetoric.
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Biomimetic architecture goes beyond using nature as inspiration for the aesthetic components of built form, but instead seeks to use nature to solve problems of the building's functioning. Biomimicry means to imitate life and originates from the Greek words bios (life) and mimesis (imitate). The movement is a branch off of the new science defined and popularized by Janine Benyus in her 1997 book Biomimicry: Innovation Inspired by Nature as one which studies nature and then imitates or takes inspiration from its designs and processes to solve human problems.Janine Benyus, Biomimicry: Innovation Inspired by Nature.
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Realist or illusionistic detail of the convex mirror in the Arnolfini Portrait by Jan van Eyck, 1434 Realism is the precise, detailed and accurate representation in art of the visual appearance of scenes and objects. Realism in this sense is also called naturalism, mimesis or illusionism. Realistic art was created in many periods, and it is in large part a matter of technique and training, and the avoidance of stylization. It becomes especially marked in European painting in the Early Netherlandish painting of Robert Campin, Jan van Eyck and other artists in the 15th century.
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For six years, he taught Drama at Royal Holloway, University of London, leaving as a Senior Lecturer in 2007. During his time there, he wrote two books: Merely Players (about the rhetoric of classical acting) and Refiguring Mimesis (with Adrian Streete, about aesthetics). He also set up a new degree programme in Drama and English. During this first career, he became an expert in the work of John Donne, and organised the first live performance for four centuries of several of Donne’s songs at St. Paul’s Cathedral, in 2005.
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In response to criticisms that contemporaries such as Belisario Bulgarini leveled against his first effort, Mazzoni wrote the more extensive and more sophisticated On the Defense of the Comedy of Dante. In this work, before directly addressing Dante’s work, Mazzoni develops his theory of poetics, in which, drawing heavily from Plato and Aristotle, he discusses mimesis, the role of poetry, and the definition of poetry versus poetics (see Theory section, below). Though no complete English translation of Mazzoni’s text exists, excerpts from the Introduction and Summary have appeared in some anthologies, as well as in a partial translation by Robert L. Montgomery.
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This figure was much emulated by later Buddhist kings, who built stupas and temples and patronized the monastic community in imitation of Ashoka. This mimesis of the Ashoka myth by Asian Buddhist rulers is one way in which Buddhist myth influenced the Asian political ideology of states such as Angkor, Sukhothai and Pagan.Swearer, Donald K. Buddhist World of Southeast Asia, The: Second Edition, SUNY Press, 2012, p. 84. The Jātakas depict many examples of kings and of the bodhisattva Gautama himself who was a king in many past lives, the most famous throughout Southeast Asia being the Vessantara Jataka.
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Thus, Sthayibhava attains mastery over all other forty-nine emotions (Bhavas) as elaborated by him in Natya Shastra. Bharata in his Natya Shastra mentions eight Sthayihavas: (i) Rati (Love), (ii) Hasa (Mirth), (iii) Krodha (Anger), (iv) Utsaha (Courage), (v) Bhaya (Fear), (vi) Jugupsa (Aversion), (vii) Vismaya (Wonder), and (viii), and Soka (Sorrow) each corresponding to eight Rasas. Poets later to Bharata added tranquility (Sama) or Disenchantment (Nirveda) as a ninth Stahyibhava corresponding to Shantarasa. Bhtta Lollata, in his play upacitivāda comments, Rasa is produced when any one of the eight Sthayibhavas is intensified by the performer by "mimesis" or anukŗti.
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Fabulation is a term sometimes used interchangeably with metafiction and relates to pastiche and Magic Realism. It is a rejection of realism which embraces the notion that literature is a created work and not bound by notions of mimesis and verisimilitude. Thus, fabulation challenges some traditional notions of literature—the traditional structure of a novel or role of the narrator, for example—and integrates other traditional notions of storytelling, including fantastical elements, such as magic and myth, or elements from popular genres such as science fiction. By some accounts, the term was coined by Robert Scholes in his book The Fabulators.
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The Rood was eventually burned in London along with numerous other statues of Roman Catholic saints. According to Reilly, sermons and reports by the Protestant iconoclasts who attacked the Rood presumed that the Catholic authorities were misrepresenting the Rood; however, "Catholic audiences had seen mechanical theatrical mirabilia or miracles in the medieval cycle plays for generations." (Reilly notes an animated serpent winding around the tree in the garden, mechanical jaws of hell, and cords used to make a dove descend at Pentecost).Kara Reilly, "Automata and Mimesis on the Stage of Theatre History" (Palgrave Macmillan, 2011) p.
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The camouflaged stick insect Medauroidea extradentata Walking sticks (order Phasmatodea), many katydid species (family Tettigoniidae), and moths (order Lepidoptera) are just a few of the insects that have evolved specialized cryptic morphology. This adaptation allows them to hide within their environment because of a resemblance to the general background or an inedible object. When an insect looks like an inedible or inconsequential object in the environment that is of no interest to a predator, such as leaves and twigs, it is said to display mimesis, a form of crypsis. Insects may also take on different types of camouflage, another type of cypsis.
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Sonesson started collaborating with the linguist Jordan Zlatev around 2001 and organized a number of research project together with him, before adopting the label "cognitive semiotics". Other members of the CCS are, notably, Mats Andrén, who has published a number of gesture studies, partially in collaboration with Zlatev, and Sara Lenninger, who is working with Sonesson on the semiotics of pictures. The particular direction taken by cognitive semiotics in Lund consists in experimental studies which are geared to elucidate fundamental semiotic concepts such as sign, index, icon, etc., as well as their precursor notion such as imitation, mimesis, empathy and intersubjectivity.
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In Brecht, the interaction between the two dimensions—representational and presentational—forms a major part of his 'epic' dramaturgy and receives sophisticated theoretical elaboration through his conception of the relation between mimesis and Gestus. How to play Brecht, in regard to presentational vs. representational has been a controversial subject of much critical and practical discussion. Hagen's opinion (backed up by conversations with Brecht himself and the actress who was directed by him in the original production of Mother Courage) was that, for the actor, Brecht always intended it to be about the character's subjective reality—including the direct audience addresses.
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Halliwell asserts that the idea that life imitates art derives from classical notions that can be traced as far back as the writings of Aristophanes of Byzantium, and does not negate mimesis but rather "displace[s] its purpose onto the artlike fashioning of life itself". Halliwell draws a parallel between Wilde's philosophy and Aristophanes' famous question about the comedies written by Menander: "O Menander and Life! Which of you took the other as your model?", noting, however, that Aristophanes was a precursor to Wilde, and not necessarily espousing the positions that Wilde was later to propound.
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Mimesis in the leafy sea dragon with seaweed-like coloration, protuberances and behaviour Katydids have evolved a wide range of camouflage adaptations so their body colouring and shape match entire leaves, half-eaten leaves, dying leaves, leaves with bird droppings, sticks, twigs, and tree bark. Other well-known mimetic animals include beetles, mantids, caterpillars, moths, snakes, lizards, frogs, and fish. A well known response of cephalopods when threatened is to release large volumes of ink. Some cephalopods also release pseudomorphs ("false bodies"); smaller clouds of ink with a greater mucus content, which allows them to hold their shape for longer.
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"Odysseus' Scar" is the first chapter of Mimesis: The Representation of Reality in Western Literature, a collection of essays by German-Jewish philologist Erich Auerbach charting out the development of representations of reality in literature. It examines the differences between the two types of writing about reality as embodied by Homer's Odyssey and the Old Testament. In the essay, Auerbach introduces his anti-rhetorical position, a position developed further in the companion essay "Fortunata" (ch. 2) which compares the Roman tradition of Tacitus and Petronius with the New Testament, as anathema to a true representation of everyday life.
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Specifically Wansbrough thinks it must have been completed by Ibn Hisham around the time he composed his Sīra of Muhammad because of the "preponderance of Quran-based (historicized) narratives therein". Wansbrough thought evidence for the "seventh-century Hijaz" as the location of the Islam's origins was "[b]ereft of archaeological witness and hardly attested in pre-Islamic Arabic or external sources", but instead owed "its historiographical existence almost entirely to the creative endeavour of Muslim and Orientalist scholarhship".Wansbourgh, John, Res Ipsa Loquitur: History and Mimesis, Jerusalem: The Israel Academy of Sciences and Humanities, 1987, p.
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At the event of the origin of language, there was a proto-human hominid species which had gradually become more mimetic, presumably in response to environmental pressures including climate changes and competition for limited resources. Higher primates have dominance hierarchies which serve to limit and prevent destructive conflict within the social group. However, as individuals within the proto-human group became more mimetic, the dominance system broke down and became inadequate to control the threat of violence posed by conflictual mimesis. Gans asks us to imagine an "originary event" along the following lines: A group of hominids have surrounded a food object, e.g.
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Mimesis, or imitation, as he referred to it, was a crucial concept for Samuel Taylor Coleridge's theory of the imagination. Coleridge begins his thoughts on imitation and poetry from Plato, Aristotle, and Philip Sidney, 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: Here, Coleridge opposes imitation to copying, the latter referring to William Wordsworth's notion that poetry should duplicate nature by capturing actual speech.
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The worldview underlying the Ottoman miniature painting was also different from that of the European Renaissance tradition. The painters did not mainly aim to depict the human beings and other living or non-living beings realistically, although increasing realism is found from the later 16th century and onwards. Like Plato, Ottoman tradition tended to reject mimesis, because according to the worldview of Sufism (a mystical form of Islam widespread at the popular level in the Ottoman Empire), the appearance of worldly beings was not permanent and worth devoting effort to, resulting in stylized and abstracted illustrations.
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An armoured vehicle fitted with 'Adaptiv' infrared side panels, switched off (left), and on to simulate a large car (right), demonstrates both crypsis and mimesis. Note that the high res picture on the manufacturer's website shows possible signs of photomanipulation. Adaptiv is an active camouflage technology developed by BAE Systems AB to protect military vehicles from detection by far infrared night vision devices, providing infrared stealth. It consists of an array of hexagonal Peltier plates which can be rapidly heated and cooled to form any desired image, such as of the natural background or of a non-target object.
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The new arrangement of the exhibition was designed by WWAA. The Gallery of Old Masters on the second floor was conceived from the former Gallery of Decorative Art, Gallery of Old European Painting and the Gallery of Old Polish and European Portrait in 2016. It combines species of pictorial art - painting, sculpture, drawings and prints with crafts in reference to the very notion of "art" which originally meant craftsmanship. Painting and sculpture with its representational character and imitation of reality (mimesis) was united with decorative arts in common goals and functions as well as in spaces where they were collected and exhibited.
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French post-structuralist feminism takes post-structuralism and combines it with feminist views and looks to see if a literary work has successfully used the process of mimesis on the image of the female. If successful, then a new image of a woman has been created by a woman for a woman, therefore it is not a biased opinion created by men. Along with Luce Irigaray and Julia Kristeva, Hélène Cixous is considered one of the mothers of post-structuralist feminist theory. Since the 1990s, these three together with Bracha Ettinger have considerably influenced French feminism and feminist psychoanalysis.
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Chiasmi International: Trilingual Studies Concerning the Thought of Merleau- Ponty is a peer-reviewed academic journal that publishes articles, reviews, and discussions in Italian, French, and English on the thought of the French philosopher Maurice Merleau-Ponty. The journal is produced in cooperation with the Italian Società di Studi su Maurice Merleau-Ponty, and is distributed by Mimesis Edizioni in Italy , Librairie philosophique J. Vrin in France, and Pennsylvania State University in the United States. All issues are available online from the Philosophy Documentation Center. The journal is abstracted and indexed in The Philosopher's Index, PhilPapers, and the Philosophy Research Index.
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It is necessary to depart from the idea that Anguita focuses on a poetry completely separated from mimesis; it's an intellectual poetry. In the introduction to the anthology he creates alongside fellow Chilean author Teitelboim, both expound upon the concept of the function of poetry. In this manner of thought, poetry would be a way for the soul to speak and ask that it be considered in the universe; it cannot be simply thought of as an item of entertainment. Anguita has said that for him, poetry is first the vision of something and should always be expressed this way the first time.
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In her 1990 single channel video work Cannon: Taking to the Street the political act of taking to the street is framed through an iconic evocation of the Paris uprising of May 1968, interspersed with amateur footage from a Take Back the Night march held at Princeton University in April, 1987.Dot Tuer ' Mirrors and Mimesis: An Examination of the Strategies of Image Appropriation and Repetition in the Work of Dara Birnbaum' issue 3 May 1997 n.paradoxa: international feminist art journal online pp.4-16 Her 1994 six channel video installation Hostage has as its subject the kidnapping of Hanns-Martin Schleyer in 1977.
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In Marxist philosophy, a character mask () is a prescribed social role that serves to conceal the contradictions of a social relation or order. The term was used by Karl Marx in various published writings from the 1840s to the 1860s, and also by Friedrich Engels. It is related to the classical Greek concepts of mimesis (imitative representation using analogies) and prosopopoeia (impersonation or personification) as well as the Roman concept of persona,A famous anthropological essay on the idea of the "persona" is Marcel Mauss, "A category of the human mind: the notion of person, the notion of 'self'." in: Mauss, Sociology and psychology: essays. Translated by Ben Brewster.
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Her book The Invention of Suspicion: Law and Mimesis in Shakespeare and Renaissance Drama won the Roland Bainton Prize for Literature in 2008. In 2012 Hutson was Dr Alice Griffin Fellow in Shakespearean Studies at the University of Auckland; she also gave the Oxford Wells Shakespeare Lectures, on the subject of ‘Circumstantial Shakespeare’; the lectures were published by Oxford University Press under the same title in 2015. In 2016 she was elected as a Fellow of the British Academy, and in September took up the post of Merton Professor of English Literature, becoming a Fellow of Merton College, Oxford. Hutson is an Honorary Fellow of Somerville College.
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Music Hall Mimesis in British Film, 1895–1960: on the halls on the screen p.79. Associated University Presse (2009). . His notable 1930s thrillers include The Man Who Knew Too Much (1934), The 39 Steps (1935) and The Lady Vanishes (1938), the latter two ranked among the greatest British films of the 20th century. One of the earliest spy films was Fritz Lang's Spies (1928), the director's first independent production, with an anarchist international conspirator and criminal spy character named Haghi (Rudolf Klein-Rogge), who is pursued by good-guy Agent No. 326 (Willy Fritsch)—this film would be an inspiration for the future James Bond films.
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It includes special protective resemblance, now called mimesis, where the whole animal looks like some other object, for example when a caterpillar resembles a twig or a bird dropping. In general protective resemblance, now called crypsis, the animal's texture blends with the background, for example when a moth's color and pattern blend in with tree bark. A flower mantis, Hymenopus coronatus, displays special aggressive resemblance Aggressive resemblance is used by predators or parasites. In special aggressive resemblance, the animal looks like something else, luring the prey or host to approach, for example when a flower mantis resembles a particular kind of flower, such as an orchid.
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In 2015, Vaughan released the book The Gift in the Heart of Language: The Maternal Source of Meaning (Mimesis International, 2015). In this book, Vaughan cites recent infant psychology research to strengthen her epistemological argument that the mother-child experience is the key paradigm for the structure of both verbal and material communication. Among the characteristics of this paradigm are the central value attributed to the receivers of gifts, and the community-building aspect of both verbal and material gifts. Vaughan criticizes patriarchal, capitalist monetization of gift-giving into a measurable forced exchange, calling it an expropriation of the psychological mechanism of parent-child interaction.
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Retrieved 30 September 2020 From 1899, he made short silent comic films, such as The Music Eccentric in which he performed acrobatics, tumbling out of and back into the frame. He also made films of his most popular stage sketches. In 1914, he founded the Sunny South and Sealight Film Company in Shoreham-by-Sea, Sussex, and worked with Conquest and designer F. L. Lyndhurst on re-makes of his earlier films as well as new films, including The Showman's Dream (1914) and Tons of Money (1926). Paul Matthew St. Pierre, Music Hall Mimesis in British Film, 1895-1960: On the Halls on the Screen, Associated University Presse, 2009, pp.
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Tanjore Royal Palace The work comprises four sections, between them consisting of five hundred and eighty-four poems, and belonged to the genre of śṛṅgāra-kāvya or śṛṅgāra-prabandham,Davesh Soneji, Performing Satyabhimi: Text, Context, Memory and Mimesis in Telugu-Speaking South India (unpublished PhD thesis, McGill University 2004), p. 58. 'a genre associated in the history of Telugu literature with the Thanjavur era' whose poems were mostly inventive retellings of the story of Radha and Krishna, evoking the rāsa of Sringara.Women Writing in India: 600 B. C. to the Present, ed. by Susie Tharu and K. Lalita, 2 vols (London: Pandora, 1991), I 7.
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Published their own Neomodernist Manifesto in 2001. The Neomodern Manifesto posits criteria for a revitalised approach to works of art founded on history, traditional artistic disciplines, theology and philosophy. Durand's and Alemdar's Neomodernism views art as an act of expression of the sublime; in Neomodern painting as a representation of the visual appearance of things with correspondence to the physical world understood as a model for beauty, truth, and good. Neomodern works of art via mimesis interpret and present the universe and man’s existence, in line with the belief that the reality we live is but a mirror of another universe that can only be accessed through inspiration and imagination.
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"Marisol Portrait Sculpture." Pg. 95 This strategy was employed as a self-critique, but also identified herself clearly as a woman who faced prejudices within the current circumstances. As Luce Irigaray noted in her book This Sex Which is Not One, "to play with mimesis is thus, for a woman, to try to recover the place of her exploitation by discourse, without allowing herself to be simply reduced to it. It means to resubmit herself … to ideas about herself, that are elaborated in/by amasculine logic, but so as to make visible, by an effect of playful repetition what was supposed to remain invisible".
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Scattered clicks are found in ideophones and mimesis in other languages, such as Kongo , Mijikenda and Hadza (Hadza does not otherwise have labial clicks). Ideophones often use phonemic distinctions not found in normal vocabulary. English and many other languages may use bare clicks in interjections, without the accompaniment of vowels, such as the dental "tsk-tsk" sound used to express disapproval, or the lateral tchick used with horses. In Armenian, Bulgarian, Greek, Levantine Arabic, Maltese, Persian, Romanian, Turkish, occasionally in French, as well as southern Italian languages such as Sicilian, in which a bare dental click accompanied by tipping the head upwards signifies "no".
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The title is borrowed from a book of the same name by Frank Kermode first published in 1967, subtitled Studies in the Theory of Fiction, the stated aim of which is "making sense of the ways we try to make sense of our lives". Kermode's book is a well received piece of literary criticism. Critic Colin Burrow called it one of "the three most inspiring works of literary criticism written in the twentieth century", comparing Kermode's work with Erich Auerbach's Mimesis and E.R. Curtius's European Literature and the Latin Middle Ages.Colin Burrow's "Introduction" in E. R. Curtius, European Literature and the Latin Middle Ages, Princeton: Princeton University Press, 2013.
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The Red Lion had been a farm, but a single gallery multi-sided theatre (constructed by John Williams), with a fixed stage by standing above the audience, was built by John Reynolds in the garden of the farmhouse. The stage was equipped with trapdoors, and an attached turret, or fly tower – for aerial stunts and to advertise its presence.G. Egan, 'Platonism and Bathos in Shakespeare and Other Early Modern Drama', in J. Holmes and E. Streete (eds), Refiguring Mimesis: Representation in Early Modern Literature (University of Hertfordshire Press, Hatfield 2005), pp. 59–78. Loughborough University Institutional Repository.C. Phillpotts, 'Red Lion Theatre, Whitechapel, Documentary Research Report' (MoLAS Report for Crossrail, ref 1E0418-C1E00-00004, August 2004), in pdf.
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In 2014, he was appointed to the Lucy King Brown Chair, one of six endowed, Brown Chairs at Southwestern University. Selbin's most well-known work is Revolution, Rebellion, Resistance: The Power of Story (2010), which puts forth four different types of "revolutionary story" that have accompanied revolutionary struggles from the French Revolution to the present day: Civilizing and Democratizing, The Social Revolution, Freedom and Liberation and The Lost and Forgotten. For Selbin, these narratives, conducted across time and space through processes of myth, memory and mimesis, are the crucible of revolutionary action. Selbin has also collaborated on topics related to homeschooling and feminism with Helen Cordes, the writer and editor to whom he is married, and their two daughters.
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In mathematics, mimesis is the quality of a numerical method which imitates some properties of the continuum problem. The goal of numerical analysis is to approximate the continuum, so instead of solving a partial differential equation one aims to solve a discrete version of the continuum problem. Properties of the continuum problem commonly imitated by numerical methods are conservation laws, solution symmetries, and fundamental identities and theorems of vector and tensor calculus like the divergence theorem.. Both finite difference or finite element method can be mimetic; it depends on the properties that the method has. For example, a mixed finite element method applied to Darcy flows strictly conserves the mass of the flowing fluid.
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Juvenile rockmover, Novaculichthys taeniourus, mimics algae Mimesis is practised by animals such as the leafy sea dragon, Phycodurus eques, and the leaf scorpionfish, Taenianotus triacanthus, which resemble parts of plants, and gently rock their bodies as if swayed by a current. In the fish species Novaculichthys taeniourus, the rockmover or dragon wrasse, there is a striking difference in appearance between the adults and the juveniles. A juvenile Rockmover resembles a loose piece of sea weed. It swims in a vertical position with its head pointing downwards, and behaves in a way that perfectly resembles the movement of a piece of seaweed: moving back and forth in the surge, as if it was inanimate.
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On the other hand, academic analysis has treated the act with much more gravity. In 2007, for example, David Martin described the decapitation as "an act which speaks not only to the continuance of white settler racism, but also to the power of mimesis to invigorate our modern memorials and monuments with a life of their own." In 2002, Member of the Western Australian Legislative Assembly Janet Woollard called for the statue's genitalia to be covered up, but nothing was done. In November 2005 Richard Wilkes again called for the statue's groin to be covered, on the grounds that such a depiction would be more historically accurate, as Yagan would have worn a covering for most of the year.
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Along with some philosophers like Gabrielle Contessa and Peter Godfrey-Smith, Frigg also theorizes that there are parallels between theoretical modelling and works of fiction that involve fictional characters. For the philosopher, the best way to understand mathematical models is to approach it as if they were more closely related to literary fictions than to bits of mathematics. This can be demonstrated in the way Frigg draws from Kendall Walton's theory, which offers a framework of understanding games of make-believe and uses it to understand the nature and varieties of representation in the arts of art and fiction.Walton, Kendall L. "Mimesis as Make-Believe: On the Foundations of the Representational Arts".
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According to Eliot, the feelings of Hamlet are not sufficiently supported by the story and the other characters surrounding him. The objective correlative's purpose is to express the character's emotions by showing rather than describing feelings as discussed earlier by Plato and referred to by Peter Barry in his book Beginning Theory: An Introduction to Literary and Cultural Theory as "...perhaps little more than the ancient distinction (first made by Plato) between mimesis and diegesis…." (28). According to Formalist critics, this action of creating an emotion through external factors and evidence linked together and thus forming an objective correlative should produce an author's detachment from the depicted character and unite the emotion of the literary work.
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The Binding also figures prominently in the writings of several of the more important modern theologians, such as Søren Kierkegaard in Fear and Trembling and Shalom Spiegel in The Last Trial. Jewish communities regularly review this literature, for instance the recent mock trial held by more than 600 members of the University Synagogue of Orange County, California. Derrida also looks at the story of the sacrifice as well as Kierkegaard's reading in The Gift of Death. In Mimesis: The Representation of Reality in Western Literature, the literary critic Erich Auerbach considers the Hebrew narrative of the Binding of Isaac, along with Homer's description of Odysseus's scar, as the two paradigmatic models for the representation of reality in literature.
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" The "end of art" refers to the beginning of our modern era of art in which art no longer adheres to the constraints of imitation theory but serves a new purpose. Art began with an "era of imitation, followed by an era of ideology, followed by our post-historical era in which, with qualification, anything goes... In our narrative, at first only mimesis [imitation] was art, then several things were art but each tried to extinguish its competitors, and then, finally, it became apparent that there were no stylistic or philosophical constraints. There is no special way works of art have to be. And that is the present and, I should say, the final moment in the master narrative.
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Without this distance, tragedy could not give rise to catharsis. 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 empathise 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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See also Pfister (1977, 2–3) and Elam: "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 diegesis (narrative description) versus mimesis (direct imitation)" (1980, 110–111).
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This gives rise to a particular crisis in literary studies because "literariness" is no longer seen as an aesthetic quality nor a mimetic mode. Aesthetic effect, according to de Man, takes place because we tend to mistake the materiality of the signifier with the materiality of the signified by considering language as an intuitive and transparent medium, as opposed to the material and conventional medium that it is. Mimesis, like aesthetic quality, is also an effect of the rhetorical and figurative aspects of language. The assumption of ideological and historical contexts or backgrounds to literary texts becomes problematic if language is no longer seen as a transparent and intuitive guide from the textual material to the historical situation.
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This is encapsulated in the opening lines of the novel: "All this happened, more or less. The war parts, anyway, are pretty much true." This bombastic opening—"All this happened"—"reads like a declaration of complete mimesis" which is radically called into question in the rest of the quote and "[t]his creates an integrated perspective that seeks out extratextual themes [like war and trauma] while thematizing the novel's textuality and inherent constructedness at one and the same time." While Vonnegut does use elements as fragmentation and metafictional elements, in some of his works, he more distinctly focuses on the peril posed by individuals who find subjective truths, mistake them for objective truths, then proceed to impose these truths on others.
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He further says that what Dewey should have done instead was to assign to it the directional and transformational role mentioned above. Conceived this way, Shusterman argues, the definition of art as experience has an undeniable value because even though it cannot embrace the whole extension of the concept of art it "underlines a crucial background condition, direction, and valued goal of art" (i.e. aesthetic experience) and also helps to widen "the realm of art by challenging the rigid division between art and action that is supported by definitions that define art as mimesis, poiesis, or the narrow practice defined by the institutional art world".R. Shusterman, "Pragmatism and Criticism: A Response to three critics of Pragmatist Aesthetics", Journal of Speculative Philosophy, 16, 2002, p. 29.
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By means of the mask, he argued, the tragic hero appears not as an individual character but rather as the embodiment of a fundamental Dionysian reality, "the one all- human I." By means of hero's example, therefore, staged myth would give the people access to its sense of the "total unity of suffering." Rejecting theatrical illusion, Ivanov's modern liturgical theatre would offer not the representation of action (mimesis), but action itself (praxis). This would be achieved by overcoming the separation between stage and auditorium, adopting an open space similar to the classical Greek orchêstra, and abolishing the division between actor and audience, such that all become co-creating participants in a sacred rite.Golub (1998, 552), Kleberg (1980, 53), and Rudninsky (1988, 10).
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Three main camouflage methods predominate in water: transparency, reflection, and counter-illumination. Transparency and reflectivity are most important in the top 100 metres of the ocean; counter- illumination is the main method from 100 metres down to 1000 metres; while camouflage becomes less important in the dark waters below 1000 metres. Camouflage in relatively shallow waters is more like terrestrial camouflage, where additional methods are used by many animals. For example, self- decoration is employed by decorator crabs; mimesis by animals such as the leafy sea dragon; countershading by many fish including sharks; distraction with eyespots by many fish; active camouflage through ability to change colour rapidly in fish such as the flounder, and cephalopods including octopus, cuttlefish, and squid.
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In 2007 he was a postdoctoral research fellow at the Uehiro Centre for Practical Ethics at the University of Oxford, working on the EU-funded ENHANCE project on the ethics of human enhancement. Sandberg is also an electronic artist, whose renderings have been adapted for book covers by futurist Damien Broderick: The Dreaming, Earth is But a Star, The Judas Mandala, Skiffy and Mimesis, Uncle Bones, Warriors of the Tao, and xyzt. Sandberg has also supported and advocated cryonics, for example by signing an open letter to support research into cryonics and by being an advisor to the UK Cryonics and Cryopreservation Research Network, a UK advocacy group. He has personally arranged to be cryonically preserved after his legal death.
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Auerbach, who was Jewish and born in Berlin, was trained in the German philological tradition and would eventually become, along with Leo Spitzer, one of its best-known scholars.Auerbach (1993), p. xiii After participating as a combatant in World War I, he earned a doctorate in 1921 at University of Greifswald, served as librarian at the Prussian State Library for some years, and in 1929 became a member of the philology faculty at the University of Marburg, publishing a well-received study entitled Dante: Poet of the Secular World. With the rise of National Socialism Auerbach was forced to vacate his position in 1935. Exiled from Nazi Germany, he took up residence in Istanbul, Turkey, where he wrote Mimesis: The Representation of Reality in Western Literature (1946), generally considered his masterwork.
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Milan: Mimesis, 2005: 30-45 Universally known as the etcher of the Prisons and the Views of Roman monuments, Piranesi was an eclectic personality, who pursued a wide range of interests. Giovanni Battista Piranesi had a prominent role within the Graeco-Roman debate. In this controversy Piranesi supported the superiority of the architects and designers of the Roman Empire and demonstrated the indigenous roots of Roman culture, arguing that the Romans had been influenced more by the Etruscans than the Greeks.John Wilton-Ely, The Mind and Art of Giovanni Battista Piranesi. London: Thames & Hudson, 1978 In his polemical treatise Della Magnificenza ed Architettura de’ Romani (Concerning the Magnificence and Architecture of the Romans) (1761) Piranesi draws on the entire heritage of the philosophical, ethical, economic and artistic aspects of the notion.
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A camera obscura used for drawing Photography is the result of combining several technical discoveries, relating to seeing an image and capturing the image. The discovery of the camera obscura ("dark chamber" in Latin) that provides an image of a scene dates back to ancient China. Greek mathematicians Aristotle and Euclid independently described a camera obscura in the 5th and 4th centuries BCE.Campbell, Jan (2005) Film and cinema spectatorship: melodrama and mimesis . Polity. p. 114. In the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments.Crombie, Alistair Cameron (1990) Science, optics, and music in medieval and early modern thought. A&C; Black. p. 205. The Arab physicist Ibn al-Haytham (Alhazen) (965–1040) also invented a camera obscura as well as the first true pinhole camera.
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Brevi biografie di Massoni famosi, Rome-Milan: Erasmo Edizioni-Mimesis, 2005, p. 93., Uruguay, De Amicis held the public greeting speech in honor of the mason Giovanni Bovio during the first representation of his theatral drama titled San Paolo, interpreted by the Italian actor and mason Giovanni Emanuel. His book Cuore has been considered for decades an educative textbook largely read and studied in the Italian public schools. Some literary critics noted it substituted the traditional Roman Catholic doctrine with a lay civil religion where heroes took the place of Christian martyrs, the Statuto Albertino displaced the Gospels, the Church, its believers and the Ten Commandments were respectively deleted in favour of the State, the figure of the citizen and the protection of the Italian codes of laws.
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See article on Mimesis Coleridge's explanation of metaphysical principles were popular topics of discourse in academic communities throughout the 19th and 20th centuries, and T.S. Eliot stated that he believed that Coleridge was "perhaps the greatest of English critics, and in a sense the last." Eliot suggests that Coleridge displayed "natural abilities" far greater than his contemporaries, dissecting literature and applying philosophical principles of metaphysics in a way that brought the subject of his criticisms away from the text and into a world of logical analysis that mixed logical analysis and emotion. However, Eliot also criticises Coleridge for allowing his emotion to play a role in the metaphysical process, believing that critics should not have emotions that are not provoked by the work being studied.Eliot (1956), pp. 50–56.
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With variations, it has also been used for books on the philosophy of physics (World Enough and Space-Time: Absolute versus Relational Theories of Space and Time), geopolitics (World Enough and Time: Successful Strategies for Resource Management), a science-fiction collection (Worlds Enough & Time: Five Tales of Speculative Fiction), and a biography of the poet (World Enough and Time: The Life of Andrew Marvell). The phrase is used as a title chapter in Andreas Wagner's pop science book on the origin of variation in organisms, "Arrival of the Fittest". The verse serves as an epigraph to Mimesis, literary critic Erich Auerbach's most famous book. It is also the title of an episode of Big Finish Productions's The Diary of River Song series 2, and of part 1 of Doctor Who's Series 10 finale.
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Saggio su potere e potenza in Baruch Spinoza. (Milano: Feltrinelli, 1981)Negri, Antonio: Spinoza sovversivo. Variazioni (in)attuali. (Roma: Antonio Pellicani Editore, 1992)Negri, Antonio: Spinoza et nous [La philosophie en effet]. (Paris: Éditions Galilée, 2010)Negri, Antonio: Spinoza e noi. (Milano: Mimesis, 2012) Born in Padua, he became a political philosophy professor in his hometown university. Negri founded the Potere Operaio (Worker Power) group in 1969 and was a leading member of Autonomia Operaia. As one of the most popular theorists of Autonomism, he has published hugely influential books urging "revolutionary consciousness." He was accused in the late 1970s of various charges including being the mastermind of the left-wing terrorist organization Red Brigades (Brigate Rosse or BR), involved in the May 1978 kidnapping of Aldo Moro, two-time Prime Minister of Italy, and leader of the Christian-Democrat Party, among others.
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Mysliveček's L'Olimpiade was revived in 2005 at the Narodní Divadlo Moravskoslezské in Ostrava, then revived again as a new production at the Estates Theatre in Prague, the Grand Théâtre in Dijon, the Théâtre de Caen, and the Grand Théâtre in Luxembourg in April and May 2013.L'Olimpiade at the Grand Théâtre de Luxembourg A version of the latter production was also repeated in concert format at the Theater an der Wien in Vienna in March 2014. A documentary film about the genesis of the Prague production, produced by Mimesis Film and directed by Petr Václav, was released in 2015 under the title Zpověď zapomenutého in Czech and Confession of the Vanished in English. It was the winner of a Trilobit Beroun Award in 2016 and a gold prize in its category at the FIPA film competition in Biarritz in 2016 (the FIPA d'or).
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One column in The West Australia found humour in them, referring to the head as a "bonce" and a "noggin", and finished with a pun on "skullduggery". Stephen Muecke calls this the "satirical trivialising of Aboriginal concerns"; and Adam Shoemaker writes "This is the stuff of light humour and comic relief. There is no sense of the decapitation as being an act of vandalism, even less that it could have been motivated by malevolence.... [T]he piece has a definite authorising function...." On the other hand, academic analysis has treated the act with much more gravity. In 2007, for example, David Martin described the decapitation as "an act which speaks not only to the continuance of white settler racism, but also to the power of mimesis to invigorate our modern memorials and monuments with a life of their own".
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For the 13th edition of Fillip released in the Spring 2011, Hopkins authored a text titled "The Golden Potlatch: Study in Mimesis and Capitalist Desire". In this text Hopkins introduces the interconnectedness between Indigenous lands, prospectors interests and monetary desires catalyzed by the Klondike Gold Rush. Other writings and articles include "Fair Trade Heads: A Conversation on Repatriation and Indigenous Peoples with Maria Thereza Alves and Jolene Rickard" for South As a State of Mind; "Inventory" for C Magazine on sound, harmonics and indigenous pedagogies; "Native North America," a conversation with Richard William Hill for Mousse Magazine, and, also in Mousse, an interview with artist and architect Joar Nango, "Temporary Structures and Architecture on the Move." She is co-editor with Marisa Morán Jahn and Berin Golonu of the book Recipes for an Encounter, published in 2009 by the Western Front.
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L. Hooker Distinguished Visiting Professor), the Université catholique de Louvain (Chaire Cardinal Mercier), and Cornell University (Townsend Visiting Professor, Department of Classics). He was elected a Fellow of the Royal Society of Edinburgh in 2011 and a Fellow of the British Academy in 2014.Royal Society of Edinburgh website and British Academy website Although his publications cover a large span of topics in ancient Greek literature and philosophy, from Homer to Neoplatonism, Halliwell is best known for his extensive work on Ancient Greek comedy, especially Aristophanes, and on Greek philosophical poetics and aesthetics, especially in the writings of Plato and Aristotle. Two of his books have won international prizes: The Aesthetics of Mimesis, which was described in The Times Literary Supplement as 'formidable' and 'an outstanding example of taking ideas seriously',Michael Silk, Times Literary Supplement 6 June 2003, p. 30.
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Brian Rosebury, a scholar of the humanities, considered why The Lord of the Rings has attracted so much literary hostility, and re-evaluated it as a literary work. He noted that many critics have stated that it is not a novel, and that some have proposed a medieval genre like "romance" or "epic". He cited Shippey's "more subtl[e]" suggestion that "Tolkien set himself to write a romance for an audience brought up on novels", noting that Tolkien did occasionally call the work a romance but usually called it a tale, a story, or a history. Shippey argued that the work aims at Northrop Frye's "heroic romance" mode, only one level below "myth", but descending to "low mimesis" with the much less serious hobbits, who serve to deflect the modern reader's scepticism of the higher reaches of medieval-style romance.
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Benjamin’s writings on architecture – for instance the early essay "Eisenman and the Housing of Tradition" (Art, Mimesis and the Avant- Garde, 1991) – have started from the premise that architecture is a critical activity not a synonym for building, or as he argued in his book Architectural Philosophy (2000) a virtuality not merely an actuality. The theoretical basis for such a position is the so-called linguistic turn in philosophy, seeing language as constructing reality. "Philosophy can never be free of architecture", so he argues, finding architectural metaphors pervading philosophy in terms of foundations and edifices. And just as Descartes, the father of modern philosophy, attempted to think of philosophy from first principles – from the cogito (the thinking subject) – so a critical architecture is seen to contest its tradition, if not fully succeeding in getting beyond notions such as shelter and dwelling.
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Muller is Professor of Music and Director of Africa Open, Institute for Music, Research and Innovation at Stellenbosch University, where he has held a lectureship in music since 2005. His three-volume study of the South African composer Arnold van Wyk, entitled Nagmusiek (2014), drew heavily on decolonial and deconstructive theories of the archive and Paul Ricoeur’s narratological theories of mimesis to circumvent the problems of writing in Afrikaans about apartheid-era musical composition. Nagmusiek, written in Afrikaans and English, engages in a complex strategy of slipping into and out of fiction, documentary biography, conventional biography and autobiography, while performing a comprehensive listing and categorization of primary manuscript sources relating to Van Wyk music. The book has been described as a radical materialization of Walter Mignolo’s notion of ‘epistemic delinking’, and an enquiry into ‘the relationship between art, academia and fascism’.
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In the previous days, rumors circulated that accused the Italian Communist Red Guard group of planning to prevent the gathering.Dino Zannoni, March 1919, the first Alala's article on Illustrated History # 136, March 1969, pag.97 The night before, supporters began to organize in Milan, almost all veterans of World War I, but the morning of March 23 was found to be quiet at Piazza San Sepolcro and confirmed by Carlo Meraviglia, who had arrived in advance specifically to review the situation. The meeting of the March 23, originally intended to be held at Teatro Dal Verme, had lower participation than expected, and ultimately was held in the meeting room of the Industrial Alliance in Piazza San Sepolcro in Milan, an arrangement made possible by the Industrial Alliance President, the interventionist Cesare Goldmann,Vittorio Gnocchini, L’Italia dei liberi muratori, Mimesis, Milano, 2005, pag.
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A seventeenth-century illustration of Plato's allegory of the cave The Liberal Temper makes the argument for the division between Plato and early Greek philosophy without a fully realised account of Havelock's theory of Greek literacy, which he was still developing throughout this period.Havelock says in the introduction to Preface to Plato that he arrived at his understanding of Plato's view of oral poetry relatively late (Preface to Plato [see Major works] x). Rather than attempting once again to explain his distinction between 5th- and 4th-century BC thought in terms of a dissection of the earlier school, Havelock turned, in his 1963 Preface to Plato, to 4th century BC philosophy itself. He was interested principally in Plato's much debated rejection of poetry in the Republic, in which his fictionalised Socrates argues that poetic mimesis—the representation of life in art—is bad for the soul.
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Jean Auguste Dominique Ingres, Le Bain Turc (The Turkish bath), 1862, oil on canvas, 108 × 110 cm, Louvre, Paris Figurative art is itself based upon a tacit understanding of abstracted shapes: the figure sculpture of Greek antiquity was not naturalistic, for its forms were idealized and geometric.Clark, Kenneth, The Nude: A Study in Ideal Form, pages 31-2. Princeton University Press, 1990. Ernst Gombrich referred to the strictures of this schematic imagery, the adherence to that which was already known, rather than that which is seen, as the "Egyptian method", an allusion to the memory-based clarity of imagery in Egyptian art.The Gombrich Archive: Press statement on The Story of Art Eventually idealization gave way to observation, and a figurative art which balanced ideal geometry with greater realism was seen in Classical sculpture by 480 B.C. The Greeks referred to the reliance on visual observation as mimesis.
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In Worringer's first book, the widely read and influential Abstraction and Empathy, he divided art into two kinds: the art of abstraction (which in the past was associated with a more 'primitive' world view) and the art of empathy (which had been associated with realism in the broadest sense of the word, and which was dominant in European art since the Renaissance). Worringer argued, however, that abstract art was in no way inferior to realist art and was worthy of respect in its own right. Following the Austrian art historian Alois Riegl, he argued that what he called "the urge to abstraction" arises not because of cultural incompetence at mimesis but out of a "psychological need to represent objects in a more spiritual manner". This turned out to be a broadly appealing justification for the increased use of abstraction in early 20th century European art.
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He contributed to the composite method of composition, and may have originated an approach to, and thus influenced the concept of the ideal form of the nude, as described by art historian Kenneth Clark. As the story goes, Zeuxis could not find a woman beautiful enough to pose as Helen, the most beautiful woman in the world, so he selected the finest features of five different models to create a composite image of ideal beauty. (see also: mimesis) Zeuxis Choosing his Models for the Image of Helen from among the Girls of Croton, detail Zeuxis was born in Heraclea in 464 BC, probably Heraclea Lucania, in the present-day region of Basilicata in the southeastern "boot" of Italy. He may have studied with Demophilus of Himera (Sicily), or with Neseus of Thasos (an island in the northern Aegean Sea), and/or with the Greek painter Appollodorus.
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Plato argued that the most common forms of artistic mimesis were designed to evoke from an audience powerful emotions such as pity, fear, and ridicule which override the rational control that defines the highest level of our humanity and lead us to wallow unacceptably in the overindulgence of emotion and passion. Aristotle's concept of catharsis, in all of the major senses attributed to it, contradicts Plato's view by providing a mechanism that generates the rational control of irrational emotions. Most scholars consider all of the commonly held interpretations of catharsis, purgation, purification, and clarification to represent a homeopathic process in which pity and fear accomplish the catharsis of emotions like themselves. For an alternate view of catharsis as an allopathic process in which pity and fear produce a catharsis of emotions unlike pity and fear, see E. Belfiore's, Tragic Pleasures: Aristotle on Plot and Emotion.
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Academic literary critics have examined Egan's work in a variety of contexts. David Cowart has read Egan's project in A Visit from the Goon Squad as indebted to modernist writing but as possessing a closer affinity to postmodernism, in which "she meets the parental postmoderns on their own ground; by the same token, she venerates the grandparental moderns even as she places their mythography under erasure and dismantles their supreme fictions", an aspect also touched upon by Adam Kelly. Baoyu Nie has focused, alternatively, on the ways in which "Egan draws the reader into the addressee role" through the use of second-person narrative technique in her Twitter fiction. Finally, Martin Paul Eve has argued that the university itself is given "quantifiably more space within Egan's work than would be merited under strict societal mimesis", leading him to classify Egan's novels within the history of metafiction.
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Another noteworthy peculiarity of Cuna culture that Taussig mentions is the way in which the Cuna have adopted, in their traditional molas, images from western pop culture, including a distorted reflection of the Jack Daniel's bottle, and also a popular iconic image from the early twentieth century, The Talking Dog, used in advertising gramophones. Taussig criticizes anthropology for reducing the Cuna culture to one in which the Cuna had simply come across the white colonists in the past, were impressed by their large ships and exotic technologies, and mistook them for Gods. For Taussig, this very reduction of the Other is suspect in itself, and through Mimesis and Alterity, he argues from both sides, demonstrating why exactly anthropologists have come to reduce the Cuna culture in this way, and the value of this perspective, at the same time as defending the independence of lived culture from Anthropological reductionism.
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Afterwords (book); FutureCycle Press USA. 2014. “Fugue for Crocuses” (poem); Sonora Review 37/38 (Spring 2000) “Pindar and the Ethic of Encounter.” Analecta Husserliana LXXXII, 321-345. Kluwer Academic, Netherlands. “Exercises with Fermata” (poem); The Antioch Review, Spring 2005. “The Collar” (poem); Sahara, Volume 7, Spring 2007. “In Doubt, Recalling Cordelia” (poem); Boxcar Poetry Review, March 2009. “After Visiting Hours” (poem); Mimesis 6 (Winter 2010); reprinted in Boston Review, May/June 2010. “Parables of the Sparrow” (poem); Long Poem Magazine 3 (Winter 2010). “Water/Zero” (poem); Blackbird (Spring 2010). “Omega” (poem); Boxcar Poetry Review (Summer 2010). “Kosovo” (poem); "Kigali" (poem); "Arlington" (poem) Tidal Basin Review (Spring 2011). “Broken Ground” (poem); Cerise Press (Summer 2011). “Cicadas, Monticello” (poem); Cerise Press (Summer 2011). “Ultramarine” (poem); Cerise Press (Summer 2011). “Korē (poem); Blackbird (Fall 2011). “To His Soon-to-Be Ex-Wife, Imagined as a Meadow” (poem); Third Coast (Spring 2012). “Lethe” (poem); Third Coast (Spring 2012). “Want/Not Want” (poem); The Literary Review (Fall 2012).
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Traditionally each dry stone wall was constructed by laying two parallel outer walls of stones, which tapered inwards towards the top; filling the space between with smaller stones and rubble; then laying coping stones across the top to complete the wall. Dry stone walls were labour-intensive to construct and repair, but in areas where stone was readily available, for early land owners they could prove economical and more durable than timber fences, requiring less maintenance and being fireproof. For European settlers the walls also transformed the landscape into something that resembled their native homes, a process that has been described by one scholar as "colonisation by mimesis" and "a type of ground clearing that instituted one type of memorialisation over another". In 1863/64 Messrs Bell & Sons, the pastoral lessees of Jimbour run, applied under right of pre- emptive purchase for the freehold of nine portions of land along Jimbour Creek and around Jimbour head station.
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In terms of the subject matter of Jarrell's work, the scholar Stephanie Burt observed, "Randall Jarrell's best-known poems are poems about the Second World War, poems about bookish children and childhood, and poems, such as 'Next Day,' in the voices of aging women." Burt also succinctly summarizes the essence of Jarrell's poetic style as follows: > Jarrell's stylistic particularities have been hard for critics to hear and > describe, both because the poems call readers' attention instead to their > characters and because Jarrell's particular powers emerge so often from > mimesis of speech. Jarrell's style responds to the alienations it delineates > by incorporating or troping speech and conversation, linking emotional > events within one person's psyche to speech acts that might take place > between persons. . .Jarrell's style pivots on his sense of loneliness and on > the intersubjectivity he sought as a response. Jarrell was first published in 1940 in "5 Young Poets", which also included work by John Berryman.
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At the end of the Introduction "The Problem of Communication", Peters asserts that "dissemination" can be more charming： "The most beautiful thing about our contact with each other is its free dissemination, not its anguished communion. The ultimate futility of our attempts to "communicate" is not lamentable; it is a handsome condition. The notion of communication deserves to be liberated from its earnestness and spiritualism, its demand for precision and agreement, demands whose long history I attempt to illustrate in this book. The requirement of interpersonal mimesis can be despotic...The idea of communication, as Adorno said, would be a condition in which the only thing that survives the disgraceful fact of our mutual difference is the delight that the difference makes possible." In the first chapter, "Dialogue and Dissemination," Peters compares two forms of communication: dialogue and dissemination and makes an argument that “dialogue can be tyrannical and dissemination can be just”, which provides an interesting perspective of one- way communication: dissemination.
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The arguments against virtual skeuomorphic design are that skeuomorphic interface elements use metaphors that are more difficult to operate and take up more screen space than standard interface elements, that this breaks operating system interface design standards, that it causes an inconsistent look and feel between applications, that skeuomorphic interface elements rarely incorporate numeric input or feedback for accurately setting a value, that many users may have no experience with the original device being emulated, that skeuomorphic design can increase cognitive load with visual noise that after a few uses gives little or no value to the user, that skeuomorphic design limits creativity by grounding the experience to physical counterparts, and that skeuomorphic designs often do not accurately represent underlying system state or data types due to inappropriate mimesis, such as analog gauges in a digital interface. In the case of an electric tea kettle, such designs can be dangerous. If it is used in the manner of the original tea kettles, catastrophe can ensue if user places it on active fire, resulting in property damage or injury.
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The usage of these terms, however, runs the risk of promoting a one-sided or incomplete view of aesthetic illusion whenever no references are made to the opposite pole of rational awareness (distance) or when the sole focus is on (hyper-)realistic (re)presentation. These alternative terms may even point to different phenomena like flow or (tele‑)presence altogether. The first known occurrence of the concept of aesthetic illusion was traced back by Ernst Gombrich (1960) to the visual arts of the period between the 6th and 4th century B.C. Some scholars, however, find first traces in even older works such as Homer's epics. Later, both Plato and Aristotle argued over the value of mimesis in the sense of the representation of nature (which is an important part of aesthetic illusion). Discussing Shakespeare’s tragedy Anthony and Cleopatra, Samuel Johnson alluded to the concept in his preface to his 1765 edition of collected plays of Shakespeare: > He that can take the stage at one time for the palace of the Ptolemies, may > take it in half an hour for the promontory of Actium.
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Reacting to the French School, postwar scholars, collectively termed the "American School", sought to return the field to matters more directly concerned with literary criticism, de- emphasising the detective work and detailed historical research that the French School had demanded. The American School was more closely aligned with the original internationalist visions of Goethe and Posnett (arguably reflecting the postwar desire for international cooperation), looking for examples of universal human "truths" based on the literary archetypes that appeared throughout literatures from all times and places. Prior to the advent of the American School, the scope of comparative literature in the West was typically limited to the literatures of Western Europe and Anglo-America, predominantly literature in English, German and French literature, with occasional forays into Italian literature (primarily for Dante) and Spanish literature (primarily for Miguel de Cervantes). One monument to the approach of this period is Erich Auerbach's book Mimesis: The Representation of Reality in Western Literature, a survey of techniques of realism in texts whose origins span several continents and three thousand years.
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Sir Nicholas Poins, depicted by Hans Holbein the Younger Poins is a development of the character "Ned" in Shakespeare's principal source, The Famous Victories of Henry V. Some passages appear to be derived directly from the earlier play, such as the conversation in which Poins says Hal would be thought a hypocrite if he mourned for his estranged father, which derives from a scene in Famous Victories in which Ned says that mourning would "make folks believe the death of your father grieves you, and tis nothing so".Hutson, Lorna, The Invention of Suspicion: Law and Mimesis in Shakespeare and Renaissance Drama, Oxford University Press, 2007. The name Poins may come from the Poins family, based in Gloucestershire, descended from the Baron Poyntz, who was active in the reign of Edward I. In 1869 G.R. French argued that "it is probable that Shakespeare intended him for a cadet of the family of Poyntz, one of high antiquity in Gloucestershire".Francis Griffin Stokes, Who's Who in Shakespeare: A Dictionary of Characters and Proper Names, Courier Corporation, 2011 reprint, p.261.
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He published many early articles on theatre sound design and composition in the Theatre Design and Technology Journal dating back to 1988. He has published two books, one a biography of legendary Broadway Sound Designer Abe Jacob, The Designs of Abe Jacob,and Music as a Chariot, for Routledge, a philosophical treatise on theatre as a type of music, specifically, music to which ideas have been attached and conveyed through mimesis. He has explored his theories on theatre as a type of music in a series of original productions that include Choices which was performed at World Stage Design in Taipei, Taiwan, and included as part of the US National Exhibition at the 2015 Prague Quadrennial, Ad Infinitum³, which performed at the 2011 Prague Quadrennial, and subsequently at the 2013 opening of the Qualcom Institute at the University of California, San Diego, and Labcoats on Clouds, which performed at the 2007 Prague Quadrennial. His explorations in theatre as a type of music evolved largely out of the dozens of productions for which he composed sound scores over his nearly forty-year career as professional composer and sound designer.
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In Handbook of Inaesthetics Badiou both draws on the original Greek meaning and the later Kantian concept of "aesthesis" as "material perception" and coins the phrase "inaesthetic" to refer to a concept of artistic creation that denies "the reflection/object relation" yet, at the same time, in reaction against the idea of mimesis, or poetic reflection of "nature", he affirms that art is "immanent" and "singular". Art is immanent in the sense that its truth is given in its immediacy in a given work of art, and singular in that its truth is found in art and art alone—hence reviving the ancient materialist concept of "aesthesis". His view of the link between philosophy and art is tied into the motif of pedagogy, which he claims functions so as to "arrange the forms of knowledge in a way that some truth may come to pierce a hole in them". He develops these ideas with examples from the prose of Samuel Beckett and the poetry of Stéphane Mallarmé and Fernando Pessoa (who he argues has developed a body of work that philosophy is currently incapable of incorporating), among others.
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Theatre technique is part of the playwright's creative writing of drama, as a kind of mimesis rather than mere illusion or imitation of life, in that the playwright is able to present a reality to the audience that is different, yet recognisable to that which they usually identify with in their everyday lives. Another aspect of this is that of creating the kind of dialogue that makes the playwright's characters come alive and allows for their development in the course of his dramatization. The playwright's art also consists in the ability to convey to the audience the ideas that give essence to the drama within the frame of its structure. Finally, the feeling for the natural divisions of a play—including acts, scenes, and changes of place—its entries and exits, and the positioning of the cast are integral to playwriting technique. One of the playwright's functions is that concerned with adaptations of existing traditional drama, such as Charles Marowitz’s collages of Hamlet and Macbeth and other re-interpretations of Shakespeare's works, as well as Tom Stoppard’s approaches in Rosencrantz & Guildenstern Are Dead, Dogg's Hamlet, and Cahoot's Macbeth.
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For the Romantics, Berlin says, > in the realm of ethics, politics, aesthetics it was the authenticity and > sincerity of the pursuit of inner goals that mattered; this applied equally > to individuals and groups—states, nations, movements. This is most evident > in the aesthetics of romanticism, where the notion of eternal models, a > Platonic vision of ideal beauty, which the artist seeks to convey, however > imperfectly, on canvas or in sound, is replaced by a passionate belief in > spiritual freedom, individual creativity. The painter, the poet, the > composer do not hold up a mirror to nature, however ideal, but invent; they > do not imitate (the doctrine of mimesis), but create not merely the means > but the goals that they pursue; these goals represent the self-expression of > the artist's own unique, inner vision, to set aside which in response to the > demands of some "external" voice—church, state, public opinion, family > friends, arbiters of taste—is an act of betrayal of what alone justifies > their existence for those who are in any sense creative.Berlin, 57–58 John William Waterhouse, The Lady of Shalott, 1888, after a poem by Tennyson; like many Victorian paintings, romantic but not Romantic.
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