![]() ![]() Gerald Else, for example, suggests three possible implications associated with the term ‘mimesis’: This view is disputed, however, as others refuse such a narrow definition, even in this early context (Gebauer and Wulf 1995: 6, 25-30). 525-456BC), in the context of music and dance – prompting some scholars to fix an early meaning in reference to acts of representation through dance. The root term makes some of its earliest recorded appearances, for example in the Delian hymn or in a fragment from the philosopher Aeschylus (c. The term, derived from the word ‘ mimos’, meaning mime or mimic, then (as now) revolved around questions of imitation, representation, and expression. ![]() Although it is difficult to identify any essential origin or core that is preeminent and enduring in the cultural and intellectual history of the concept, it is possible to reach back to Greek antiquity for a pre-platonic root of the term mimesis. In essence, the notion may be described as referring to a capacity to produce and to recognize similarity. The ‘ mimetic faculty’ is an elusive concept, foregrounding a human inclination to mimic or to imitate, to produce symbolic forms, representations and artefacts that mirror and also perhaps transform their objects.
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