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Mimesis (/ m ɪ ˈ m iː s ɪ s, m aɪ-/; [1] Ancient Greek: μίμησις, mīmēsis) is a term used in literary criticism and philosophy that carries a wide range of meanings, including imitatio, imitation, nonsensuous [clarification needed] similarity, receptivity, representation, mimicry, the act of expression, the act of resembling, and the presentation of the self.
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.
The mimetic theory of desire, an explanation of human behavior and culture, originated with the French historian, literary critic, and philosopher of social science René Girard (1923–2015). The name of the theory derives from the philosophical concept mimesis , which carries a wide range of meanings.
It is generally understood [by whom?] that Aristotle's theory of mimesis and catharsis represent responses to Plato's negative view of artistic mimesis on an audience. 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 ...
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. [citation needed]
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 ...
[Plato, Ion, 533e–534a] Aristotle differed with his teacher, Plato, about the worth of poetry. Both saw art as an act of mimesis, but where Plato at times saw a pale, essentially false imitation of reality, Aristotle saw the possibility of truth in imitation. As critic David Richter points out, "For Aristotle, artists must disregard ...
Plato's most self-critical dialogue is the Parmenides, which features Parmenides and his student Zeno, which criticizes Plato's own metaphysical theories. Plato's Sophist dialogue includes an Eleatic stranger. These ideas about change and permanence, or becoming and Being, influenced Plato in formulating his theory of Forms. [54]