Mimesis and Its Romantic Reflections
Publication Year: 2001
Published by: Penn State University Press
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I first drafted the ideas developed in this book as a resident fellow of the University of California Humanities Research Institute (UC Irvine) in 1991. For their comments and criticism, I am especially grateful to the other fellows: Marian Hobson, Ludwig Pfeiffer, Walter Pape, Elinor Shaffer, and Barbara Stafford. Throughout our collaborative residency, Murray Krieger was always...
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In Mimesis:The Representation of Reality in Western Literature (1946), Erich Auerbach moves from Schiller and Goethe to Stendhal and Balzac, passing over those writers whom he labels romantic. They were no longer concerned, he says, with the representation of reality. Instead, they had become preoccupied with the âfragmentation and limitation of the realistic.â To the extent that they made any attempt at all...
1: Art for Artâs Sake
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In spite of its prominence in the Aestheticism of France and England, the concept of lâart pour lâart, with its presumed freedom from moral purpose, actually had its origin in Germany. It is perceived as being a term that came into usage with Gautier and Baudelaire, was imported into England by Pater, and reached its culmination in the Decadence of the fin de siÃ¨cle. Crucial to the concept is its resistance to, or defiance of...
2: Mimesis and the Idem et Alter
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M. H. Abrams begins his explanation of the shift from art as imitation to art as expression in âRomantic Analogues of Art and Mindâ by citing Wordsworthâs definition of poetry as âthe spontaneous overflow of powerful feelings.â Abrams was certainly right in arguing that Wordsworthâs metaphor revealed the new emphasis on creativity as the expressive âoverflowâ of the mind. Unfortunately, one of...
3: Mimesis of the Mind
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Along with fancy and imagination, the distinction between copy and imitation is essential to Coleridgeâs critical theory. Thus he repeats it, again and again, whenever he explains the creative process. The earliest formulation occurs in the Notebook entries of OctoberâDecember 1804.1 In subsequent reformulations, he began to elaborate the distinction in terms of...
4: Mimesis, Ekphrasis, Crisis
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The verbal description of a visual work of art bears the name given it in Greek antiquity: ekphrasis. The poet, by representing the work of the painter or sculptor, is offering us a mimesis of a mimesis which pretends to be externally directed, even when it is not: Homer never saw the shield of Achilles; Keatsâs Grecian Urn existed only in his own imagination...
5: Reflections in the Mirror
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One reason that critics have dated the decline or even the demise of mimesis from the end of the eighteenth century is that the poets of the romantic period displayed little confidence in the rationalist strategies of representation.1 Indeed, their poetry is often about the instability of representation. Even if it explores subjectivity, an arena of experience for which most languages offer only a meager vocabulary, poetry requires...
6: Mimesis and the Twice-told Tale
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âAll the worldâs a stageâ (As You Like It, Act 2, scene 7, line 47), declares the melancholy Jacques, whose lines are often cited as testimony to that reverse mimesis whereby life is said to imitate art. Another such pronouncement on life as redundant imitation is spoken by Lewis (âa beardless boy, a cockerâd silken wantonâ): âLife is as tedious as a twice-told tale / Vexing the dull ear of a drowsy manâ (King John, Act 3, scene 4, lines 108-9).1 In his...
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Page Count: 216
Publication Year: 2001