Search results for: mimesis

Authors: Roselyn T. Bustos

Abstract:

Literature is an imitation of life. It depicts man's culture as well as his struggles. In short, literature is a part of man's way of life- a reflection of his personal or vicarious experiences. Using the qualitative-descriptive content analysis, this study investigates the mimetic signification in the five select sonnets of William Shakespeare.An in- depth analysis of the poetic elements such as the figurative language used and the themes extracted is made to draw out the universal meaning of his works. It is found out that his select sonnets use figurative languages such as simile, metaphor, personification, and hyperbaton which becomes a potent element that allows his sonnets to convey the themes of love and perseverance. With these findings, it is concluded that William Shakespeare's sonnets are evidently written within the context of the universals and that they are worthy of wide readership not only because of him being a renowned English poet and playwright but most importantly of the realities his sonnets signify.

Keywords: imitation, mimesis, potent, realities

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Authors: Kurt S. Candilas

Abstract:

This study is a critical analysis of the work of Robert Frost, 'Nothing Gold Can Stay'. It subjects the literary piece into a qualitative analysis using the critical theory of mimesis. In effect, this study is proposed to find out and shed light on the mimetic feature of the poem’s textuality. Generally, it aims to analyze the poem’s deeper meaning in the context of the reality of life from birth to death. For the most part, this critical analysis discerns, investigates, and highlights the features which present the imitation of life in detail and from a deeper view. Based on the result of analysis, it shows that Frost has portrayed the cycle of life from birth to midst life as about proving oneself to others as far as achievements and accomplishments are concerned; secondly, at some point of one’s life, successes and achievements are just one’s perfect signature of living. As Frost discloses his poem, his message of the reality of life from birth to death is clear enough, that nothing is going to last forever.

Keywords: Nothing Gold Can Stay, mimesis, birth, death

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Authors: Talita Cavaignac

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Adorno's critique of totality, especially in a split society marked by reification, also rests on the impossibility of generalizing normative principles. Given the unfeasibility of normative universalizations, which conditions can justify the possibility of criticism and normativity in Adorno's thought? If reason itself is still entangled in alienation from the model of the domination of nature, how could be possible a critical theory? In political terms, if the notion of totality is challenged by the critique of identity, how can Adorno maintain the ideal of liberation and reconciliation between private interests and the possibility of some sort of ethics without giving up a materialist theory of society and without betting in a necessary link between redemption and history? Faced with this complex of questions, it is intended to reflect on the sense in which the notion of ‘suffering’ could throw help to the epistemological problem of the foundations of criticism in Adorno's work. The idea is that, in contrast to a universalizable model of justice, Adorno mobilizes in the notion of ‘suffering’ a gateway to the critical reflection of society. He would thus develop an approach to moral problems through the sensual-bodily perspective, fear, pain, and somatic factors. Nevertheless, due to the attention to the damaged experience and to the constitution of subjectivity -a sense in which the concept of mimesis continues to stand out- we understand suffering as an expression of an objective reification. Following the statement of other authors, the intention is to think how the resources linked to the idea of ‘suffering’ in Adorno's writings are engaged in the reflection of the problem of morality and of the contradictions between universal and particular (articulated in Hegel's tradition).

Keywords: ethics, morality, sensitive, Theodor Adorno

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Authors: Zahra Barzegar, Reza Deedari, Behzad Pourgharib

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This study examines how metamorphosis in nature is depicted in Charles Tomlinson's poetry through Lawrence Buell's mimesis and referential strategy of adéquation. This study aims to answer the questions that what is the relationship between Tomlinson's selected poems and nature, and how does Tomlinson's poetry bring the reader close to the natural environment. Adéquation is a way that brings the reader close to nature, not by imitating nature but by referring to it imaginatively and creating a stylized image. Using figurative language, namely imagery, metaphor, and analogy, adéquation creates a stylized image of metamorphosis in a nature scene that acts as a middle way between the reader and nature. This paper proves that adéquation reinvents the metamorphosis in natural occurrences in Charles Tomlinson's selected poems. Thus, a reader whose imagination is addressed achieves closeness with nature and a caring outlook toward natural happenings. This article confirms that Tomlinson's poems are potential enough to represent metamorphosis in nature through adéquation. Therefore, the reader understands nature beyond the poem as the poem presents a gist of nature through adéquation.

Keywords: adéquation, metamorphosis, nature, referentiality

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Authors: Muhammad Babar Suleman

Abstract:

Transgressing the boundaries of the real and the virtual, the temporal and the spatial and the personal and the political, Four Broken Hearts is a hybrid storyworld encompassing film, live performance, location-based experiences and social media. The project is scheduled for launch early next year and is currently a work-in-progress undergoing initial user testing. The story of Four Broken Hearts is being told by taking each of the classic elements of fiction- character, setting, exposition, climax and denouement - and bringing them ‘to life’ in the medium that conveys them to the highest degree of mimesis: Characters are built and explored through social media, Setting is experienced through location-based storytelling, the Backstory is fleshed out using film and the Climax is performed as an immersive drama. By taking advantage of what each medium does best while complementing the other mediums, Four Broken Hearts is presented in the form of a rich transmedia experience that allows audiences to explore the story world across many different platforms while still tying it all together within a cohesive narrative. This article presents an investigation of the project’s narrative outputs produced so far.

Keywords: narratology, storyworld, transmedia, narrative, storytelling

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Authors: Isabel Pérez Dobarro

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In the mid-twentieth century, Spanish composers started looking beyond the national folkloric tradition (adopted by Albéniz, Granados, and Falla) and Rodrigo’s neoclassicism, and searched for other sources of inspiration. Japanese Haikus fascinated Spanish musicians, who found in their brevity and imagination a new avenue to develop their creativity. The goal of this research is to study how two renowned Spanish authors, Benet Casablancas and Mercedes Zavala, incorporated Haikus into their piano works. Based on Bruhn’s methodology on text and instrumental music relations, and developing a score and text analysis complemented by interviews with both composers, this study has revealed three possible interactions between the Haikus and these composers’ piano writing: inspiration, transmedialization, and mimesis. Findings also include specific technical gestures to support each of these approaches. Commonalities between their pieces and those by other non-Spanish composers such as Jonathan Harvey, John Cage, and Michael Berkeley have also been explored. According to the author's knowledge, this is the first study on the Japanese influence in Spanish piano music. Thus, it opens a new path for understanding musical exchanges between both countries as well as contemporary piano tools that support the interaction between text and music.

Keywords: Haiku, Spanish piano music, Benet Casablancas, Mercedes Zavala

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Authors: Nikolai David Blaskow

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Nietzsche's scholarship in the main has never quite resolved its deeply divided, at times self-contradictory responses to what Friedrich Nietzsche might have actually meant by his notion of the 'will to power'. Yet, in the context of the current global pandemic and climate change crisis, never has there been a more urgent need to investigate and resolve that contradiction. This paper argues for the 'will to power' as being a potentially irrational-rational psychopathology, one that can properly be understood only by means of Nietzsche's agonistic insights into another psychopathology—that of ressentiment. The argument also makes a case for the contention that amor fati (Nietzsche’s positive affirmation of life) may prove to be ressentiment's cure. In addition, as an integral part of the case’s methodology, the lens defined as the Mimetic and Scapegoat theory of Rene Girard (1923-2015) is brought to bear on resolving the contradiction. Ressentiment and Mimetic Theory will prove to be key players in the investigation, in as much as they expose the reasons for a modernity in crisis. The major finding of this study is that when the explanatory power of the two theories is applied, an understanding of the dynamics of the crisis in which we find ourselves emerges. The keys to that insight will include: (1) how these two psychopathologies closely resemble the contemporary neurologically defined 'borderline conditions' and their implications for culture (2) how identity politics stifle exemplary leadership, and so create toxic cultures (3) a critical assessment of Achille Mbembe's (2019) re-working of Frantz Fanon's 'ethics of the passerby' and its resonances with Nietzsche's amor fati.

Keywords: agon, amor fati, borderline conditions, ethics of the passer by, exemplary leadership, identity politics, mimesis, ressentiment, scapegoat mechanism

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Authors: Dmitry Usenco

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The greatest paradox about the origin of language is the fact that, while language is always taught by adults to children, it can never be learnt properly unless its acquisition occurs during childhood. The question that naturally arises in that respect is as follows: How could language be taught for the first time by a non-speaker, i.e., by someone who did not have the opportunity to master it as a child? Yet the above paradox will appear less unresolvable if we hypothesise that language was originally introduced not as a means of communication but as a relatively modest training/playing technique that was used to develop the learners’ mimetic skills. Its communicative and expressive properties could have been discovered and exploited later – upon the learners’ reaching their adulthood. The importance of mimesis in children’s development is universally recognised. The most common forms of it are onomatopoeia and mime, which consist in reproducing sounds and imitating shapes/movements of externally observed objects. However, in some cases, neither of these exercises can be adequate to the task. An object, especially an inanimate one, may emit no characteristic sounds, making onomatopoeia problematic. In other cases, it may have no easily reproduceable shape, while its movements may depend on the specific way of our interacting with it. On such occasions, onomatopoeia and mime can perhaps be supplemented, or even replaced, by movements of the tongue which can metonymically represent certain aspects of our interaction with the object. This is especially evident with consonants: e.g., a fricative sound can designate the subject’s relatively slow approach to the object or vice versa, while a plosive one can express the relatively abrupt process of grabbing/sticking or parrying/bouncing. From that point of view, a protoword can be regarded as a sophisticated gesture of the tongue but also as a mnemonic sequence that contains encoded instructions about the way to handle the object. When this originally subjective link between the object and its mimetic/mnemonic representation eventually installs itself in the collective mind (however small at first the community might be), the initially nameless object acquires a name, and the first word is created. (Discussing the difference between proper and common names is out of the scope of this paper). In its very beginning, this word has two major applications. It can be used for interhuman communication because it allows us to invoke the presence of a currently absent object. It can also be used for designing, expressing, and memorising our interaction with the object itself. The first usage gives rise to language, the second to religion. By the act of naming, we attach to the object a mental (‘spiritual’) dimension which has an independent existence in our collective mind. By referring to the name (idea/demon/soul) of the object, we perform our first act of spirituality, our first religious observance. This is the beginning of animism – arguably, the most ancient form of religion. To conclude: the rise of religion is simultaneous with the the emergence of language in human evolution.

Keywords: language, religion, origin, acquisition, childhood, adulthood, play, represntation, onomatopoeia, mime, gesture, consonant, simultaneity, spirituality, animism

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Authors: Fernando Cabo Aseguinolaza, Víctor Bouzas Blanco, Alberto Martí Ezpeleta

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Santiago de Compostela became a stable object of literary representation during the period between 1840 and 1915, approximately. This study offers a partial cartographical look at this process, suggesting that a cultural space like Compostela’s becoming an object of literary representation paralleled the first stages of its becoming a tourist destination. We use maps as a method of analysis to show the interaction between a corpus of novels and the emerging tradition of tourist guides on Compostela during the selected period. Often, the novels constitute ways to present a city to the outside, marking it for the gaze of others, as guidebooks do. That leads us to examine the ways of constructing and rendering communicable the local in other contexts. For that matter, we should also acknowledge the fact that a good number of the narratives in the corpus evoke the representation of the city through the figure of one who comes from elsewhere: a traveler, a student or a professor. The guidebooks coincide in this with the emerging fiction, of which the mimesis of a city is a key characteristic. The local cannot define itself except through a process of symbolic negotiation, in which recognition and self-recognition play important roles. Cartography shows some of the forms that these processes of symbolic representation take through the treatment of space. The research uses GIS to find significant models of representation. We used the program ArcGIS for the mapping, defining the databases starting from an adapted version of the methodology applied by Barbara Piatti and Lorenz Hurni’s team at the University of Zurich. First, we designed maps that emphasize the peripheral position of Compostela from a historical and institutional perspective using elements found in the texts of our corpus (novels and tourist guides). Second, other maps delve into the parallels between recurring techniques in the fictional texts and characteristic devices of the guidebooks (sketching itineraries and the selection of zones and indexicalization), like a foreigner’s visit guided by someone who knows the city or the description of one’s first entrance into the city’s premises. Last, we offer a cartography that demonstrates the connection between the best known of the novels in our corpus (Alejandro Pérez Lugín’s 1915 novel La casa de la Troya) and the first attempt to create package tourist tours with Galicia as a destination, in a joint venture of Galician and British business owners, in the years immediately preceding the Great War. Literary cartography becomes a crucial instrument for digging deeply into the methods of cultural production of places. Through maps, the interaction between discursive forms seemingly so far removed from each other as novels and tourist guides becomes obvious and suggests the need to go deeper into a complex process through which a city like Compostela becomes visible on the contemporary cultural horizon.

Keywords: compostela, literary geography, literary cartography, tourism

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