Mimesis

by Matthew Potolsky

A topic that has become increasingly central to the study of art, performance and literature, the term mimesis has long been used to refer to the relationship between an image and its ‘real’ original. However, recent theorists have extended the concept, highlighting new perspectives on key concerns, such as the nature of identity. Matt Potolsky presents a clear introduction to this potentially daunting concept, A multidisciplinary study of a term rapidly returning to the forefront of contemporary theory, Mimesis is a welcome guide for readers in such fields as literature, performance and cultural studies.

Genres: Philosophy, Art, Nonfiction, Literature

192 pages, Paperback

First published January 1, 2006

Reviews

[Alex Obrigewitsch · Rating 2 out of 5]

A decent introduction to the history of theoretical considerations of mimesis, thought the word 'introduction' strikes one, here, as a bit odd. For it would suggest that we have not already encountered mimesis, engaged with it, seen it and thus been forced to think it (vision and thought bound together at the root, in the Greek theoria). And yet this would seem to be patently false - for the mimetic marks itself all around us, in the appearances which appear and tread the indeterminate line between being and seeming, in the shining appearance of truth (which, as Heidegger has shown us time and again, is always a double movement bearing and bearing away a concealment or withdrawal as well).

While Potolsky does an excellent job of distilling thousands of years of thought and writing around the uncircumscribable knot of mimesis, he ultimately (necessarily, perhaps) falls prey to its fundamental of originary trick or game - that is, the default of origin which it marks, displacing identity and thus determination concerning mimesis "itself." That is, insofar as one is going to identify mimesis, one must grasp its essence, and be able to repeatedly identify it and relate it to itself. But the "essence" of mimesis (the suspemsion marked by the inverted commas cannot be stressed enough) is precisely the deferral or displacement of the question of essence, the determination of the self-identical "what (it is)"; Lacoue-Labarthe calls mimesis the "failing of essence 'itself'." To identify mimesis, to say what it is, is to enter into the game of mimesis, of dissimulation, and so to defer the answer by simply repeating the question (though otherwise, with the altered inflection repetition bestows). The identity of mimesis is dissimulation and suspended indecision; its truth is neither true nor false, but the paradoxical mark of the question in its abyssal gaping open. To take mimesis as one's theme or topic is only to enter into errancy, infinitely detoured, wandering farther away even as one approaches near. Mimesis marks the infinite in finite appearance, disappearing even as it appears, drawing us on, drawing all existence in ek-sistence by the interminable continuance of the question and its playful, though fascinating and deadly serious, pursuit.

[陈浓 · Rating 5 out of 5]

真的是一本很棒的学术史梳理。

[Birch · Rating 5 out of 5]

Brillos :D

[Jane]

This book was reading for my Art of the Multiple class at uni.

[woarvin · Rating 5 out of 5]

A great introduction to mimesis. Explores the account of mimesis by various philosophers.

[Mjhancock · Rating 3 out of 5]

Potolsky's book delivers exactly what it sets out to do: it's a nice overview of the concept of mimesis in Western history from Plato up to the time of the book's publication. All in all, there's seven chapters (and three parts). Chapter One looks at Plato's interpretation of mimesis, and the Republic's view on the danger of fiction and poetry. Chapter two is on Aristotle, and the Poetics' argument that mimesis is less a flawed mirror and more a system of conventions that can bring about truths more readily than real life. Chapter three traces mimesis as imitation and Western literature's reliance and occasional derision for older forms of style. Chapter four is mimesis as performance, and looks at the theater's long history of a source of artifice and corruption. Chapter five is on mimesis as realism, which is probably its most common interpretation, the longstanding view that the highest form of art is that which is indistinguishable from reality. Chapter six takes a psychoanalytic view of mimesis, in terms of how we form our identities through imitation. And the final chapter goes over the biological impetus for mimesis, mimetic desire as a driving force for human action, and the simulacra. A brief conclusion sums things up, and draws a connection between mimesis and meme. Personally, I would have liked to see Potolsky address related concepts like diegesis and simulation (the modern scientific experiment is its own odd mimesis), but what's here works. It's a book that's best suited for a very specific audience; those entirely unfamiliar with mimesis and literary theory in general will probably find themselves completely lost. But on the other hand, given the relative brevity of the book, it can't go fully into great depth on its subjects, which means that those already well-versed in mimesis won't find it particularly useful. But if you're someone, like me, who is just looking for a quick refresher, it serves its purpose.

[Marilena · Rating 5 out of 5]

I really loved this book that refers both to art and psychology. The term in the title is seriously explored. I found answers to several questions I had....

[Carl]

I've never gone through an intro to the concept of mimesis before-- not sure I need it, but I figure I can skim this and make sure I'm not embarrassing myself whenever I bring it up...

[Kellyn · Rating 4 out of 5]

Very interesting. Covered several different aspects/theories of mimesis and reached across many different disciplines. I would recommend this book to anyone interested in anything.