Mimesis and subversion of fairy tale model are the often used narrative models in literature.In Twilight,Meyer successfully employs the two models and creates a everlasting fairy tale.In this article,the author analyz...Mimesis and subversion of fairy tale model are the often used narrative models in literature.In Twilight,Meyer successfully employs the two models and creates a everlasting fairy tale.In this article,the author analyzes the mimesis and subversion in Twilight from how it employs and subvert the traditional fairy model.展开更多
Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents...Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by ＂theatrical＂ I mean a specific mode of presentation and a specific mode of perception： the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as ＂the necessity of watching and being watched.＂ Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self＇s greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche＇s words, it celebrates the fleeting moment＇s ＂greatest weight.＂ As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators： ＂Go on failing. Go on. Only next time, try to fail better.＂展开更多
Christopher Janaway＇s recent book on Plato＇s critique of the arts discusses, among other things, Book 10 of the Republic. This paper claims that his comments upon passages in Republic 10 overl Plato＇s ook the Ion a...Christopher Janaway＇s recent book on Plato＇s critique of the arts discusses, among other things, Book 10 of the Republic. This paper claims that his comments upon passages in Republic 10 overl Plato＇s ook the Ion and status of the Republic as itself a work of dramatic mimesis, ignore the dialectical form of the work, and miss that in various dialogues, Plato evinces a high view of poetry and the arts and even envisions a techne poietike. The paper defends these claims by constructing a three-stage argument that Plato holds a high view of poetry： （1） It first sketches an outline of a reading of the Ion as a dialogue that, despite being aporetic, nevertheless points ahead to a Socratic philosophizing that is craft-like and open to divine inspiration, and not only recognizes the value of poetry but also sometimes composes poetry; （2） Then, it discusses Socrates＇ use, in his conversational strategies in the Republic, of the techne of rhetoric described in the Phaedrus; and finally, （3） It considers four arguments against mimetic poetry in Republic 10 （598b8-606d7）, and sketches an interpretation of them that takes issue with Janaway＇s. It argues that they are meant to invite readers to a higher dialectical standpoint, from which might come into view the value of mimetic poetry to a community guided by a Basilike techne展开更多
The writing of Thomas Hardy cannot be readily defined as an embodiment of the Realistic tradition. His too-liminal status as the last Victorian novelist, regional writer, and a collector of English rustics, has been v...The writing of Thomas Hardy cannot be readily defined as an embodiment of the Realistic tradition. His too-liminal status as the last Victorian novelist, regional writer, and a collector of English rustics, has been vivaciously debated and contested （Miller, 1970; Widdowson, 1989; Moore, 1990; Morgan, 1992; Armstrong, 2000; Mallet, 2002; Nemesvari, 2011）. This argument contributes to the debate on the relation between the real and the textual in Hardy＇s last novel, Jude the Obscure （1895）, which shows that Hardy＇s language has features of a self-referential novel, close to the antimimetic poetics of postmodernist genres, which insists, however, on the connection with the real, where lies the inspiration for creativity and political intervention. Through the analysis of the allegorical figures of ＂intertexts＂ interwoven in the language of the novel, it will be argued that the representation of the novel registers the connection between Hardy＇s visual imagination and his intention to intervene in a discursive field.展开更多
This paper analyzes the violent relationships in Beowulf（2008） based on the application of Rene Girard＇s theories of acquisitive mimesis. However, normal applications of Girard＇s work can be problematic with this ...This paper analyzes the violent relationships in Beowulf（2008） based on the application of Rene Girard＇s theories of acquisitive mimesis. However, normal applications of Girard＇s work can be problematic with this text, because reading mimetic conflict in Beowulf as focused on a single object of desire does not adequately explain the relationships between Grendel and his enemies. Normal applications of acquisitive mimesis are limited in this poem, because agent and model do not often have the same desires, and thus this paper proposes a corollary to Girard＇s theories： If we allow for two objects of desire in the rivalry--primary and secondary desires--we can account for the motivations of all mimetic rivals and acquisitive mimesis has a richer and more sustained application to this poem展开更多
My subject is the notion of mimesis as conceived and formulated by Aristotle, since his philosophical theory diverged from the metaphysical domain of platonic ideas. It is known that for Plato the sensible world is on...My subject is the notion of mimesis as conceived and formulated by Aristotle, since his philosophical theory diverged from the metaphysical domain of platonic ideas. It is known that for Plato the sensible world is one of deception and lies; therefore, the artist does nothing but to imitate the imitation of sensible objects. He is a cheater who intends to delude humans by his ability to re-present reality mimetically. On the contrary, Aristotle approaches positively the mimesis of the sensible world because he considers it as a creative and productive action of the human soul. Sensible beings, according to Aristotle, including works of art, encompass in themselves their intelligible essence, so they don＇t have to imitate any ideas outside themselves. Consequently, mimetic art in Aristotle＇s universe of thought is an inherent inclination to poetics founded in truth and reason; it always elaborates consciously its objects; and it furthermore signifies a learning process demanding systematic knowledge and meticulous method, though its roots are found in human instincts. Taken all the above as granted, this paper is also an attempt to evaluate in aesthetic level the visual works of art by Antonis Panagopoulos, a Greek artist very much influenced by Ancient Greek Philosophy, mostly by Aristotle. Since the 1990＇s, he has started an art project named ＂Espace de Memoire,＂ in which he examines and articulates various ways of perceiving and cognitively constructing a work of art on the fiat surface of the canvas.展开更多
Adorno suggests that art is an essentially expressive language since it is the imitation of natural language. Adorno＇s language thought is derived from Benjamin＇s extensive language theory in which Benjamin claims t...Adorno suggests that art is an essentially expressive language since it is the imitation of natural language. Adorno＇s language thought is derived from Benjamin＇s extensive language theory in which Benjamin claims that all things including human being have languages. The telos of art＇s expression is expressing what the repressed things and human long for speaking. The authentic art preserves the trace of primordial human＇s instinct： mimesis. Through the subject miming the object in the expression of art, the real cognition is realized. According to this model, we can ascertain that artist is the real epistemological subject, the ＂collective subject＂ is factually the speaker of the expression and the epistemological objet which is primary in the production of art. Since art is a language, the standard of art is truth-false, and therefore, the truth content is the criterion of authentic art. Negativity is the core character of truth content.展开更多
Purpose:This study explores a novel approach to compiling life-oriented moral textbooks for elementary schools in China,specificallyfocusing onMorality and Law.Design/Approach/Methods:Adopting Aristotle's Poetics ...Purpose:This study explores a novel approach to compiling life-oriented moral textbooks for elementary schools in China,specificallyfocusing onMorality and Law.Design/Approach/Methods:Adopting Aristotle's Poetics as its theoretical perspective,this study illustrates and analyzes the mimetic approach used in compiling the life-oriented moral education textbook,Morality and Law.Findings:The mimetic approach involves imitating children's real activities,thoughts,and feelings in textbooks.The mimetic approach to compiling life-oriented moral textbooks comprises three strategies:constructing children's life events as building blocks for textbook compilation,designing an intricate textual device exposing the wholeness of children's life actions,and designing inward learning activities leading to children's innerworlds.Originality/Value:From the perspective of Aristotle's Poetics,the approach to compilation in Morality and Law can be defined as mimetic.And the compilation activity in the life-oriented moral education textbook also can be described as a process ofmimesis.So this article presents a new approach to compile moral education textbooks and an innovative way to understand the nature of one compiling activity.展开更多
Iconicity and mimicry represent two distinct but related fields in semiotic studies. Academic history shows both fields have crossed the border between Nature and Culture and have thus blurred the distinction of the t...Iconicity and mimicry represent two distinct but related fields in semiotic studies. Academic history shows both fields have crossed the border between Nature and Culture and have thus blurred the distinction of the two domains in certain aspects. In terms of etymology and history of ideas, both terms are traceable to classical antiquity: one to Plato, the other to Aristotle. In modern research history, iconicity and mimicry have curiously converged in Peirce. For all their supposedly close relationship, the two areas have rarely crisscrossed and to date there has not been sufficient attention paid to "iconicity in mimicry" or "mimicry as icon"—except in biosemiotic studies, probably because of the empirical visibility, transparency and hence selfevidence of their identification. As to the fledgling applied science of biomimetics, for all its enviable achievements in engineering and industry, researchers in the field have shown little interest in the conceptual history of mimicry, let alone that of iconicity. The pages that follow will offer a philological excursus, which hopes to bring Peirce into rapport with Plato, and link current "biomimicry" to its classical prototype in Aristotle's writings on animals.展开更多
文摘Mimesis and subversion of fairy tale model are the often used narrative models in literature.In Twilight,Meyer successfully employs the two models and creates a everlasting fairy tale.In this article,the author analyzes the mimesis and subversion in Twilight from how it employs and subvert the traditional fairy model.
文摘Born of the America of 1960s, performance art comes along as a celebration of presentation rather than re-presentation, as a display form of art, and an art form that does not admit of duplication. This paper presents a reading of the seductive power of performance art as rooted in our theatrical nature. I will address performance art as an emancipated form of the theatrical, where by ＂theatrical＂ I mean a specific mode of presentation and a specific mode of perception： the mode of presentation of the self to the social and the mode of perception of the self through the social. Performance art, I will argue, is hardly an anomaly of our time. Rather, its source of disturbance and fascination lies in the natural, though excessive manifestation of our theatrical nature. By its appeal to the shocking, the perilous, or the mundane even, this form of art confirms what Paul Woodruff has addressed as ＂the necessity of watching and being watched.＂ Performance art shows us the danger of self-presentation, the recognition of the other gaze as the self＇s greatest need and greatest fear. It needs no words. Mere action is more seductive than speech and does not accept speech in return. Once it has been performed, it is no longer. In Nietzsche＇s words, it celebrates the fleeting moment＇s ＂greatest weight.＂ As Samuel Beckett used to tell his actors, performance artists seem to tell their spectators： ＂Go on failing. Go on. Only next time, try to fail better.＂
文摘Christopher Janaway＇s recent book on Plato＇s critique of the arts discusses, among other things, Book 10 of the Republic. This paper claims that his comments upon passages in Republic 10 overl Plato＇s ook the Ion and status of the Republic as itself a work of dramatic mimesis, ignore the dialectical form of the work, and miss that in various dialogues, Plato evinces a high view of poetry and the arts and even envisions a techne poietike. The paper defends these claims by constructing a three-stage argument that Plato holds a high view of poetry： （1） It first sketches an outline of a reading of the Ion as a dialogue that, despite being aporetic, nevertheless points ahead to a Socratic philosophizing that is craft-like and open to divine inspiration, and not only recognizes the value of poetry but also sometimes composes poetry; （2） Then, it discusses Socrates＇ use, in his conversational strategies in the Republic, of the techne of rhetoric described in the Phaedrus; and finally, （3） It considers four arguments against mimetic poetry in Republic 10 （598b8-606d7）, and sketches an interpretation of them that takes issue with Janaway＇s. It argues that they are meant to invite readers to a higher dialectical standpoint, from which might come into view the value of mimetic poetry to a community guided by a Basilike techne
文摘The writing of Thomas Hardy cannot be readily defined as an embodiment of the Realistic tradition. His too-liminal status as the last Victorian novelist, regional writer, and a collector of English rustics, has been vivaciously debated and contested （Miller, 1970; Widdowson, 1989; Moore, 1990; Morgan, 1992; Armstrong, 2000; Mallet, 2002; Nemesvari, 2011）. This argument contributes to the debate on the relation between the real and the textual in Hardy＇s last novel, Jude the Obscure （1895）, which shows that Hardy＇s language has features of a self-referential novel, close to the antimimetic poetics of postmodernist genres, which insists, however, on the connection with the real, where lies the inspiration for creativity and political intervention. Through the analysis of the allegorical figures of ＂intertexts＂ interwoven in the language of the novel, it will be argued that the representation of the novel registers the connection between Hardy＇s visual imagination and his intention to intervene in a discursive field.
文摘This paper analyzes the violent relationships in Beowulf（2008） based on the application of Rene Girard＇s theories of acquisitive mimesis. However, normal applications of Girard＇s work can be problematic with this text, because reading mimetic conflict in Beowulf as focused on a single object of desire does not adequately explain the relationships between Grendel and his enemies. Normal applications of acquisitive mimesis are limited in this poem, because agent and model do not often have the same desires, and thus this paper proposes a corollary to Girard＇s theories： If we allow for two objects of desire in the rivalry--primary and secondary desires--we can account for the motivations of all mimetic rivals and acquisitive mimesis has a richer and more sustained application to this poem
文摘My subject is the notion of mimesis as conceived and formulated by Aristotle, since his philosophical theory diverged from the metaphysical domain of platonic ideas. It is known that for Plato the sensible world is one of deception and lies; therefore, the artist does nothing but to imitate the imitation of sensible objects. He is a cheater who intends to delude humans by his ability to re-present reality mimetically. On the contrary, Aristotle approaches positively the mimesis of the sensible world because he considers it as a creative and productive action of the human soul. Sensible beings, according to Aristotle, including works of art, encompass in themselves their intelligible essence, so they don＇t have to imitate any ideas outside themselves. Consequently, mimetic art in Aristotle＇s universe of thought is an inherent inclination to poetics founded in truth and reason; it always elaborates consciously its objects; and it furthermore signifies a learning process demanding systematic knowledge and meticulous method, though its roots are found in human instincts. Taken all the above as granted, this paper is also an attempt to evaluate in aesthetic level the visual works of art by Antonis Panagopoulos, a Greek artist very much influenced by Ancient Greek Philosophy, mostly by Aristotle. Since the 1990＇s, he has started an art project named ＂Espace de Memoire,＂ in which he examines and articulates various ways of perceiving and cognitively constructing a work of art on the fiat surface of the canvas.
文摘Adorno suggests that art is an essentially expressive language since it is the imitation of natural language. Adorno＇s language thought is derived from Benjamin＇s extensive language theory in which Benjamin claims that all things including human being have languages. The telos of art＇s expression is expressing what the repressed things and human long for speaking. The authentic art preserves the trace of primordial human＇s instinct： mimesis. Through the subject miming the object in the expression of art, the real cognition is realized. According to this model, we can ascertain that artist is the real epistemological subject, the ＂collective subject＂ is factually the speaker of the expression and the epistemological objet which is primary in the production of art. Since art is a language, the standard of art is truth-false, and therefore, the truth content is the criterion of authentic art. Negativity is the core character of truth content.
文摘Purpose:This study explores a novel approach to compiling life-oriented moral textbooks for elementary schools in China,specificallyfocusing onMorality and Law.Design/Approach/Methods:Adopting Aristotle's Poetics as its theoretical perspective,this study illustrates and analyzes the mimetic approach used in compiling the life-oriented moral education textbook,Morality and Law.Findings:The mimetic approach involves imitating children's real activities,thoughts,and feelings in textbooks.The mimetic approach to compiling life-oriented moral textbooks comprises three strategies:constructing children's life events as building blocks for textbook compilation,designing an intricate textual device exposing the wholeness of children's life actions,and designing inward learning activities leading to children's innerworlds.Originality/Value:From the perspective of Aristotle's Poetics,the approach to compilation in Morality and Law can be defined as mimetic.And the compilation activity in the life-oriented moral education textbook also can be described as a process ofmimesis.So this article presents a new approach to compile moral education textbooks and an innovative way to understand the nature of one compiling activity.
文摘Iconicity and mimicry represent two distinct but related fields in semiotic studies. Academic history shows both fields have crossed the border between Nature and Culture and have thus blurred the distinction of the two domains in certain aspects. In terms of etymology and history of ideas, both terms are traceable to classical antiquity: one to Plato, the other to Aristotle. In modern research history, iconicity and mimicry have curiously converged in Peirce. For all their supposedly close relationship, the two areas have rarely crisscrossed and to date there has not been sufficient attention paid to "iconicity in mimicry" or "mimicry as icon"—except in biosemiotic studies, probably because of the empirical visibility, transparency and hence selfevidence of their identification. As to the fledgling applied science of biomimetics, for all its enviable achievements in engineering and industry, researchers in the field have shown little interest in the conceptual history of mimicry, let alone that of iconicity. The pages that follow will offer a philological excursus, which hopes to bring Peirce into rapport with Plato, and link current "biomimicry" to its classical prototype in Aristotle's writings on animals.
