In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image by Mariangela EspositoDoug Al-MainiESPOSITO, Mariangela. The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image. Boston: Brill, 2023. xiv + 173 pp. Cloth, $143.00This manuscript grew out of the author’s original interest in Platonic aesthetics, itself developing into a more particularized examination of Plato’s account of beauty. Plato’s (...) interest in the arts is famously bound up in a broad criticism of their imitative nature; the relation between the original and the imitation, or the eidos and the eidolon, is the core topic of this book. When this binary nature of mimesis is emphasized, it is difficult not to see the two poles as opposed to each other, and indeed there are several passages in the Platonic corpus that tell us directly to value the eidos over the eidolon. “The critique of the arts, in general terms, is based on the assumption that they produce multiple, false, sensorial images (eidola ) that are far removed from the truth, while the truth is a process through which multiplicities are gathered together into an intellectual unity (eidos).” While this duality shows up in the dialogues in numerous ways, Esposito seeks to show a method that transcends it, a method that depends on the experience of [End Page 347] beauty. Beauty is the entity that allows for a transition from the sensual to the intellectual, a point Plato makes in both the Symposium and the Phaedrus, and thereby supports the view that the binary pair of image and original are not so discrete as we might originally believe.Esposito’s analysis of the relation between image and original is made concrete through its application to writing and speech. The book is divided into an introduction, three chapters, and a conclusion that track the progress of our ascent to the eidos, with the first chapter devoted to Plato’s critique of writing, the second to the critique of speech, and the third to an analysis of how beauty facilitates going beyond their opposition. The main sources for the critique of writing are the Phaedrus and the Seventh Letter; Socrates in the Phaedrus explicitly declares writing to be an imitation of speech and the Seventh Letter supports this position. Esposito follows Derrida’s famous essay, Plato’s Pharmacy, stating, “In Derrida’s account of the Phaedrus, this is the main charge against the written word: first, it imitates the original, and then—its second crime—substitutes itself for the original.” The ability of the copy to substitute itself for the original shows a sensitivity on Derrida’s part to the kind of project that Esposito wants to engage in, and indeed a major theme of Derrida’s work was his use of the concept of the pharmakon as something that transgressed a boundary between seemingly discrete opposites; the term pharmakon could refer to either a poison or a cure. But Esposito claims that focusing on the opposition between speech and writing ensures that it will never be overcome, and so this criticism of writing (as an imitation) must be demoted in importance. Esposito therefore ultimately distances herself from Derrida and also spends time taking on the importance of the so-called Unwritten Doctrines, especially as outlined by the Tübingen School. The Tübingen School straightforwardly accepts the criticism of writing in comparison to speech and so develops a theory of unwritten doctrines that Plato would only transfer orally. Given her project of synthesizing the tension between writing and speech, it is unsurprising that Esposito would be hostile to the project of the Tübingen School, “which this work does not consider sustainable.”In the second chapter Esposito moves on to the critique of speech. Here the core of her analysis is given to the Sophist, which provides us with “the best ontological expression of the criticism of image making.” The wider criticism of the Sophist is centered on the observation that appearances are bound up with nonbeing itself; “the biggest challenge posed by the sophist and the main danger of the mimetic mechanism is revealed: both allow the pseudos... (shrink)

Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, (...) painting, and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable concept than its conventional translation of "imitation" can now convey. Far from providing a static model of artistic representation, mimesis has generated many different models of art, encompassing a spectrum of positions from realism to idealism. Under the influence of Platonist and Aristotelian paradigms, mimesis has been a crux of debate between proponents of what Halliwell calls "world-reflecting" and "world-simulating" theories of representation in both the visual and musico-poetic arts. This debate is about not only the fraught relationship between art and reality but also the psychology and ethics of how we experience and are affected by mimetic art. Moving expertly between ancient and modern traditions, Halliwell contends that the history of mimesis hinges on problems that continue to be of urgent concern for contemporary aesthetics. (shrink)

Heidegger formulates the artwork's origin in a movement against the false motion of portrayal and repetition. The term mimesis is employed in the present essay to describe this origin and the means by which truth 'happens', specifically when mimesis turns against itself as imitation. The movement of the artwork is considered within the following constellation: the concept of mimesis is examined in light of Heidegger's 'Origin' essay to illuminate the concept and the essay by placing both in (...) relation to Adorno's aesthetics (especially the way mimesis figures there) as well as Kant's doctrine of the sublime- via Lyotard's Lessons on the Analytic of the Sublime. The movement of the artwork toward truth is presented as the movement of mimesis. Further, for both Heidegger and Adorno's accounts, the mimetic movement of the artwork parallels the movement of aesthetic judgment, especially as it is construed in regard to Kant's doctrine of the sublime. Key Words: aesthetic judgment • .art theory • . beauty • . mimesis • . the Sublime. (shrink)

The article examines the use of the concept of mimesis in Adorno’s notes towards a theory of musical performance. In trying to idiosyncratically define the latter as “reproduction”, Adorno relied on a framework elaborating on concepts introduced by Arnold Schoenberg, Hugo Riemann and Walter Benjamin – a framework that the article discusses insofar as it deals with the problem of mimesis. Specific attention is devoted to the relation between Benjamin’s essays on language and translation and Adorno’s (...) class='Hi'>theory of notation, that soon became the crucial aspect of his theory of reproduction. Given the shortcomings of Adorno’s theory, which in the end did not achieve its goals, the article proposes to capitalize on his terminology while at the same time rethinking his framework in the light of recent musicological paradigms for the study of musical performance. On the whole, the article shows that it was Adorno’s philosophical assumptions – in particular the theses of music’s non-intentionality and of its non-similarity to language – that prevented him from convincingly theorizing musical performance, and suggests an alternative framework for future research. (shrink)

The article compares and analyses two approaches to the production of subjectivity — Foucauldian and Girardian — within the context of contemporary political philosophy and philosophical anthropology. These two theories—which are arguably dominant in their respective fields—are compared due to their shared focus on the role of power and violence in the formation of the subject. Both approaches acknowledge the importance of power in shaping the self, but they differ in their emphasis on specific aspects of this process. In the (...) Foucauldian approach, power is seen as a pervasive and complex force that permeates all aspects of society, while in Girardian theory it is understood as a more localized and intentional form of domination. Despite these differences, both approaches share a common understanding that the subject is shaped through the application of power techniques, including the use of violence. However, each approach places a different emphasis on the role of these techniques in the formation of identity and agency. Thus, in Foucauldian thought, violence internalized and instrumentalized by power through its localization in institutions is external to the individual — who appears to be a passive recipient of subjectifying practices; this also reflects the “political capture of the body” by biopower as the infection of the individual by power and self-control, and, consequently, becoming a mediator of power oneself. In contrast, the Girardian perspective—in which mimesis is the primary condition for the formation and operation of society—asserts the supremacy of violence around which institutions form, due to which violence is only partially removed from the individual. Thus the role of being violence’s operator is imposed upon them — though in a depoliticized form not directly linked to power structures. Both theories of the reproduction of subjectivity, in one way or another, diagnose and describe the crisis of the individual. They therefore propose their own solutions for overcoming this crisis. However, they share the common understanding that subjectivity is rooted in the individual. As a result, the strategies proposed by Foucault and Girard, such as self-care practices and radical Christianity, which are not formed by external power, do not transcend power or mimesis. (shrink)

This book reconsiders the fate of the doctrine of mimesis in the eighteenth century. Standard accounts of the aesthetic theories of this era hold that the idea of mimesis was supplanted by the far more robust and compelling doctrines of taste and aesthetic judgment. Since the idea of mimesis was taken to apply only in the relation of art to nature, it was judged to be too limited when the focus of aesthetics changed to questions about the (...) constitution of individual subjects in regard to taste. Tom Huhn argues that mimesis, rather than disappearing, instead became a far more pervasive idea in the eighteenth century by becoming submerged within the dynamics of the emerging accounts of judgment and taste. Mimesis also thereby became enmeshed in the ideas of sociality contained, often only implicitly, within the new accounts of aesthetic judgment. The book proceeds by reading three of the foundational treatises in aesthetics—Burke’s _Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful_, Hogarth’s _Analysis of Beauty_, and Kant’s _Critique of Judgment_—with an eye for discerning where arguments and analyses betray mimetic structures. Huhn attempts to explicate these books anew by arguing that they are pervaded by a mimetic dynamic. Overall, he seeks to provoke a reconsideration of eighteenth-century aesthetics that centers on its continuity with traditional notions of mimesis. (shrink)

The concept ofmimēsiswas ‘shared by most authors, philosophers and educated audiences in the classical period, in antiquity as a whole, and even later’, although it has probably never been developed into a well-articulated theory. As far as we can judge from the extant evidence, the meaning of the expressions μίμησις and μιμέομαι differs from author to author and sometimes even from passage to passage. Ancient Greek views onmimēsishave often been discussed in modern scholarship, mainly within the field of history (...) of art, and it has been demonstrated repeatedly that the traditional English translation ‘imitation’ is not always appropriate for the ancient texts and that in many contexts it is rather misleading. In the following study I aim to focus on this concept as it was employed in the oldest Greek cosmological and philosophical theories. As a rule, the study of these theories is complicated by their fragmentary state of preservation and by their distortion through the specifically Platonic views that were dominant among the later doxographers. I shall suggest that the Platonizing tendency still prevalent today, which tends to translate and interpretmimēsisas ‘imitation’ or ‘copy’, should be carefully revised in the light of the Hippocratic evidence and specifically in view ofDe victu, probably the oldest authentic, non-fragmentary, and non-Platonic document attesting the concept ofmimēsis. (shrink)

It is worthy the observing that there is no passion in the mind of man so weak but it mates and masters the fear of death.... Revenge triumphs over death, love slights it, honour aspireth to it, grief flieth to it, fear preoccupateth it. Francis Bacon, “Of Death”This fight being the more cruel, since both Love and Hatred conspired to sharpen their humours, that hard it was to say whether Love with one trumpet, or Hatred with another, gave the louder (...) alarum to their courages. Philip Sidney, The Countess of Pembroke's Arcadia. (shrink)

Plato’s theory of mimesis is expressed clearly and mainly in Plato’s Republic where he refers to his philosophy of Ideas in his definition of art, by arguing that all arts are imitative in nature. Reality according to him lies with the Idea, and the Form one confronts in this tangible world is a copy of that universal everlasting Idea. He poses that a carpenter’s chair is the result of the idea of chair in his mind, the created chair (...) is once removed from reality and since a painter’s chair is imitation of a carpenter’s chair, it is twice removed from reality. Thus, the artist deals in illusion. Plato thus rejected imitative art on the foundation that it is a copy or imitation of the unreal. We may ask; if the Carpenter makes a chair, what does he imitate? And if he imitates reality, can we call him an artist of a kind? This article therefore argues following Plato’s analogy that carpentry is an art of a kind and a carpenter is capable of knowing reality as against the notion that only philosophers are suitable for such a task. (shrink)

The purpose of this paper is to examine the ateleological moment of learning through imitation. In general, we can learn something new through imitating models we are given, which embody the values of our own society, culture and institutions. This means that imitation is understood in terms of the representation or reproduction of original models. In this understanding of imitation, however, the creative aspect of imitation is missed. In relation to this I shall, first, consider learning through imitation in terms (...) of Walter Benjamin’s theory of mimesis discussed in his essay, ‘On the Mimetic Faculty.’ It begins by examining general understanding of the concepts of experience and writing. Second and third, while reconsidering the idea of imitation, I shall bring out the difference between mimesis and copying, based on Plato and Aristotle, and I shall examine the former, especially its involuntary aspect. Fourth, in order to consider the ateleological moment of learning through imitation as mimesis, I discuss the relation between mimesis and the chance event. Fifth, Benjamin’s allegorical ‘anti-autobiography’ entitled ‘A Berlin Childhood around 1900’, which ponders the idea of childhood as otherness is considered in order to explore what is happening in the very moment of writing, driven by the chance event. To conclude, I shall show how the very moment of writing involves an unceasing transformation of the self. (shrink)

Crucial in Girard's Mimetic Theory is the notion of mimetic desire, viewed as appropriative mimicry, the main source of aggressiveness and violence characterizing our species. The intrinsic value of the objects of our desire is not as relevant as the fact that the very same objects are the targets of others' desire. One could in principle object against such apparently negative and one-sided view of mankind, in general, and of mimesis, in particular. However, such argument would misrepresent Girard's (...) thought. Girard himself acknowledged that mimetic desire is also good in itself, because is at the basis of love, and even more importantly because it's the opening out of oneself. Starting from the notion of desire as openness to others I will discuss from a neuroscientific perspective the implications for social cognition of mimesis against the background of Girard's Mimetic Theory, an ideal starting framework to foster a multidisciplinary approach to the study of human intersubjectivity. It will be posited that a different, not mutually exclusive, account of mimesis leads to social identification henceforth to sociality. Mimesis is neither good or bad, but has the potentials to lead not only to mimetic violence but also to the most creative aspects of human cognition. Results of empirical research in neuroscience and developmental psychology show that such account of mimesis finds solid supporting evidence. It will be concluded that a thorough and biologically plausible account of human intersubjectivity requires the integration of both sides of mimesis. (shrink)

To some, Rene Girard is best known for his views on sacred myth and ritual. To others, he is the eminent structuralist critic who offers challenging readings of major literary works. Still others know him for his analyses of the Bible. Central to all aspects of Girard's work is his theory of mimesis, a basic hypothesis about the structures of human motivation, Yet nowhere in his writings does Girard offer a systematic presentation of the mimetic theory. In (...) fact, key terminology shifts from work to work, resulting in considerable ambiguity in both basic concepts and explanatory claims,In Models of Desire Paisley Livingston provides the first rigorous critical reconstruction of Girard's theory of mimesis. Drawing a careful distinction between the theory itself and Girard's often ambitious claims about it, Livingston provides a systematic presentation of Girard's ideas about the role of imitation in human motivation. He surveys responses to Girard's work and compares his theory of mimetic desire with recent work in cognitive psychology and philosophy. The result is a salient theoretical alternative to the false choice--between psychoanalysis and anti-psychological doctrines--that currently dominates literary theory. (shrink)

This paper explores the intersection of René Girard's mimetic theory and the algorithmic society, particularly in the context of the potential advent of Artificial General Intelligence (AGI). Girard's theory, which elucidates the dynamics of desire, rivalry, scapegoating, and the sacrificial crisis, provides a unique lens through which to examine the complexities of our relationship with AI and its role in the creation of the sacred. As individuals increasingly rely on AI recommendations, the distinction between personal choice and algorithmic (...) manipulation becomes less clear, raising concerns about the authenticity of cultural expressions and the role of algorithms in shaping cultural narratives. The triangular structure of desire, with AI as the model and individuals as the imitators, underscores the power of algorithms in this process. The sacrificial crisis, a key concept in Girard's theory, becomes a critical point of reflection in the algorithmic society. The exposure of the scapegoating mechanism reveals the destructive potential of algorithmic manipulation and calls for new forms of understanding, empathy, and non-violent solutions. This paper argues that recognizing the sacrificial crisis can prompt individuals and society to critically examine the impact of AI's influence, challenge the narratives it perpetuates, and reclaim agency in the face of algorithmic dominance. This paper further discusses the potential implications of the emergence of AGI, which could intensify the influence of algorithms on the creation of the sacred due to its advanced cognitive capabilities and deep understanding of human desires and behaviors. This could fuel a rapid evolution of the mimetic ecosystem, with profound implications for personal freedom, independent decision-making, and the formation and preservation of individual identity. This paper concludes by emphasizing the need for responsible algorithmic practices and ethical considerations to ensure that the creation of the sacred serves the common good in the algorithmic society. (shrink)

This thesis starts from the point of departure of asking why Aesthetic Theory is difficult to read. In answering this question it is argued that the difficulty of the work is a function of the unusual claims Adorno makes about the relation between art and philosophy, and that the presentation of these arguments exemplifies these claims. This complimentary relation between form and content has implications for the way Adorno can be understood as engaging the idea of mimesis. Aesthetic (...) Theory should be understood as a theory of mimesis in modern art and as a mimetic work itself. Given this idea, the question of the readability of the work emerges as inseparable from the explicit claims Adorno makes for mimesis. If the work ultimately cannot be understood because Adorno does not define his concepts, or it is unexplainable for any other reason, then mimesis will be shown to be untenable. The issue of the readability of Aesthetic Theory is explored in the Introduction through a discussion of issues arising from the recent history of Adorno's reception. Particular attention is paid to the differences between critics who have emphasised the significance of the particular claims Adorno makes against those who emphasise his method. Chapter I rejects this distinction while it argues that the character of Adorno's writing is uneven, that is to say, Aesthetic Theory cannot usefully be read in a uniform way. Chapter I considers different aspects of this lack of uniformity and argues that the identity of Aesthetic Theory as 'philosophy' is often tenuous as it moves in and out of other modes of argument. Chapters 2 and 3 look at different aspects of the identity of Aesthetic Theory as philosophy. Chapter 2 explains the strategic significance of the work as a continuation of a tradition of philosophy from Hegel onwards. This tradition, it is argued, has explicitly understood the problem of philosophy as recognising itself as experience while it attempts to describe experience. Chapter 3 extends this theme into a consideration of philosophical form. If philosophy is understood as a mode of experience then its form as well as its content is significant. Through a consideration of Heidegger and Derrida, Chapter 3 examines the uniqueness of the philosophical form of Aesthetic Theory. Having made this distinction. Chapter 4 reads Aesthetic Theory as philosophical form, describing aspects of it as mimetic. Chapters 5 and 6 then give detailed readings of parts of Aesthetic Theory which are particularly relevant for an understanding of Adorno's theory of the mimetic potential of modern art. The concluding chapter argues that the internal consistency of Aesthetic Theory in its practice and definition of the crisis of mimesis in modernism has significant implications for the practice of art history and criticism of twentieth-century art. (shrink)

Our twenty-first century is a time of turbulence. Some of that turbulence is derived from not fully understanding what makes us moral. This article reassesses human morality in order to identify what nurtures and what distorts our moral nature. Such a reassessment potentially offers hope for a way through the escalating violence in our world that currently threatens to destroy us. This article focuses on three voices: the voice of anthropological philosopher René Girard, whose mimetic theory calls us to (...) wake up about our role in creating violence; the voice of medieval scholastic John Duns Scotus, whose moral theory is enjoying a renaissance in our contemporary world; and the voice of neuroscience with its .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Destruction of the Seven Nations in Deuteronomy and the Mimetic Theory Norbert Lohfink Hochschule Sankt Georgen, Frankfort The book of Deuteronomy is a narrative with two narrative voices which do not necessarily present the same perspective, the one of the narrator, the other ofMoses. By employing the technique of showing rather than telling, the narrator allows his Moses to articulate a new design of the world in (...) the Deuteronomic law. Although mimetic theory may be important to our understanding of both perspectives, I will focus here solely on that world presented by Moses' speeches.1 A brief summary of my essay "Opfer und Säkularisierung im Deuteronomium" (Sacrifice and Secularization in Deuteronomy), in whose final section I found it necessary to tum to René Girard's mimetic model for clarification of the evidence, provides the basis for the revision and expansion of that study which follows. Deuteronomy—a new conception of the sacred My essay was in the form of a debate with the secularization thesis of Moshe Weinfeld, whose point ofdeparture is the Deuteronomic centralization of sacrifice in Jerusalem.2 In Deuteronomy and the Deuteronomic School, Weinfeld argues that all sacrifice as well as everything sacral was abolished throughout the land, that the sacred was restricted to the central cultus and all else became the profane. I sought to demonstrate that the historical assump1 With regard to the narrator's perspective a central question which arises, for example, is whether Moses is a sacrificial victim or a scapegoat. 2 For an early criticism of Weinfeld's work, see Jacob Milgrom (1973). 104Norbert Lohfink tions of his thesis are based on an erroneous interpretation of the evidence. Although I cannot review those assumptions here, it is important to point out that the evidence is more complicated than Weinfeld seems to admit. In the book of Deuteronomy, we see that sacrifice indeed is abolished throughout the land. Less apparent is the fact that that restriction extends also to the rituals of sacrifice practiced by the central cultus. There is no mention of such rituals in Deuteronomy. A close study of the text reveals that they in fact have undergone a subtle transformation. The 14 centralization laws which describe the pilgrimage to the central sanctuary are presented in a literary form that resembles a ritual (see the tables in Lohfink 1992, 25-31). The high point of that pilgrimage is not the slaughter and offering of animals but the joy of a common meal. The killing of the animals is relatively insignificant in the light of the celebration of Israel's existence "before the countenance of YHWH." The Israel that celebrates this festival is moreover a society where there are neither poor nor needy. This ideal society constitutes in Deuteronomy the true sacred. By comparison with the older, archaic-cultic, understanding of this sacred the transferrai of the world-reality of the society 'Israel' into the sacred appears to imply its disintegration. But this is not the case. Deuteronomy embodies an extension of the sacred, not its demise. It presents a new interpretation of the phenomenon. The process of transforming the meaning of the sacred is mirrored in designation of Israel, indeed all of Israel, as qadosh 'holy'. It is no longer the priests alone who are considered holy but the entire population. Deuteronomic law is framed by statements that name Israel as "a people holy to the LORD your God" (7:6; 26:19) and that promise the holiness of Israel as a future blessing (28:9).3 Now 'holiness' always means the marking of a partial realm out of a greater realm which becomes thereby the 'profane'. This is what is meant in Deuteronomy. The nation of Israel is 'holy' in contrast to the other 'nations;' it is, according to 7:6, the "people for his own possession out of all the peoples that are on the face of the earth." In 26: 18ff. this rhetorical formula splits into two discrete references, the one stating that Israel wül be "a people for His own possession," the other that "He will set you high above all the nations He has made." Both texts depict a system of holy-profane... (shrink)

Philosophy -- Ethics beyond existentialism and structuralism: Sartre's critique of dialectical reason and the debate with Levi-Strauss -- Foucault's ethics of the self -- Derrida in Heidelberg: the specter of Heidegger's Nazism and the question of ethics -- Richard Rorty's cultural politics: ironist philosophy and the ethics of reading -- History -- From metahistory to the practical past: Hayden White's existentialist philosophy of history -- Hayden White and the ethics of historiography literature -- The ethics of conversion: metaphysical desire in (...) Ren, Girard, and Jean-Paul Sartre -- The ethics of realism: literary history and the sublime in Erich Auerbach's mimesis -- The ethics of philology: Erich Auerbach and the fate of humanism -- Edward Said, orientalism, and the political turn in literary and cultural studies. (shrink)

This essay discusses the role of mimesis in bringing about the images of the crucified Christ, the self, and the martyr as overlooked parts of Kierkegaard!s pseudonymous texts. With respect to mimesis I focus on imitation, representation and resemblance.3 With regard to Kierkegaard!s “Does a Human Being Have the Right to Let Himself Be Put to Death for the Truth?” I argue that its author H.H. introduces the mimetic concept of self and its textual process of formation. I (...) claim that H.H.'s concept of martyr is deeply mimetic and represents Kierkegaard's own vision of himself. In my exposition I employ Rene Girard's theory of “mimetic desire” and Paul Ricoeur's concept of “mimetic arc.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Theory of the Apophantic Judgment According to René GirardDesiderio Parrilla Martínez (bio)introduction: criticism of judgment in rené girardIn his essay "Belief (Cultural Memory in the Present)" ("Credere di credere") Gianni Vattimo stated the conditions of possibility of a "weak and post-metaphysical Christianity" founded in René Girard´s victimary hypothesis.1 According to Vattimo, mimetic theory allows abandoning traditional metaphysics and the classical theory of truth, based on the (...) judgment. In later works, Vattimo insisted on the epistemological virtues of mimetic theory to reform the classical theory of adequacy2 and the theological implications of this reform.3 Mimetic theory definitely unmasks the violence of the "strong metaphysic," to enable the advent of a weak metaphysics and a kenotic theology based on love: "According to him, it is the survival of the victim-based mechanism, albeit in attenuated form, that explains the recurrence of violence in the history of Christianity. To complete Girard's argument, we learn from Heidegger that what Girard calls the victim-based mechanism is metaphysical objectivism."4 The Erlebnis (non-conceptualized experience) of this theological weakening [End Page 147] has occurred as an event from a previous epistemological weakening, which mimetic theory itself contributes to consolidating.5This drift toward the epistemological nihilism generated a debate between Gianni Vattimo and René Girard, who rejected this conclusion drawn from his mimetic theory.6 The transcript of this controversy first appeared in Verità o fede debole? Dialogo su cristianesimo e relativismo (2006) [Christianity, Truth, and Weakening Faith (2011)], a compilation of three dialogues on three fundamental concepts: truth, secularization, and relativism. In the first part, focused on the epistemological question of truth, Girard affirms he isn't accurately recognized in Vattimo´s thought, showing his distance and warning that, unlike the Italian thinker, his thinking is primarily realistic: "Personally, I agree with Vattimo when he says that Christianity is a revelation of love, but I do not exclude that it is also a revelation of truth. Because truth and love coincide and are one in Christianity."7 In the same chapter, Vattimo challenges René Girard for not having extracted the ultimate consequences of his mimetic theory, because he stays trapped in the realistic ontology of a pre-mimetic mentality: [Vattimo:] "In sum, the only thing I really can't go along with in Girard is his faith in the salvific power of truth, whether it be revealed or discovered by science."8However, in the controversy René Girard could not fail to recognize the central thesis of Gianni Vattimo, according to which his work involved a critique of the classical interpretation of judgment: "I think that there is some kind of incompatibility between traditional philosophy and mimetic theory. I feel, for instance, that scholars influenced by Thomism are handicapped in regard to mimetic theory, because they have to work with neatly distinguished categories. Philosophy is looking for logical foundation as well. It is difficult for philosophers to accept a mechanism that triggers opposite effects. Therefore, it always excludes the real anthropological foundation."9 René Girard acknowledges that in his eagerness to keep up the anthropo-genesis, he cannot avoid judging the theory of judgment from the mimetic theory.10 This critique appears since the beginning of his investigation in Things Hidden since the Foundation of the World, when Girard distinguishes between Heraclitus's logos and the logos of John's gospel.11 In Violence and the Sacred he proceeded to investigate the historical origins of both forms of logos and discovered that a hidden reality underlay the evidence of the canonical judicative structure, using the resources of Derridean deconstruction, of which Girard acknowledges his debt.12René Girard's relationship with philosophy is problematic. Mimetic theory criticizes all human cultural constructions, including mythology and philosophy. However, in The Scapegoat René Girard approaches the issue of "judgment" as a place of truth. His relationship with philosophy therefore needs to be [End Page 148] recognized and his contribution valued. In this work Girard exposed the evolution and transformations that have resulted in the classic judicative structure, showing the assumptions of the last supplement of logical truth.13 In Of Grammatology Derrida took up the term "suppl... (shrink)

Making reference to Luce Irigaray’s definitions of mimesis and mimicry, and the ways in which these concepts respectively reinforce and challenge the phallogocentric order, this article investigates the representation of the Troubles in the play Somewhere over the Balcony by Charabanc—a pioneering all-female theatre company which operated in Belfast in the 1980s and early 1990s. The article discusses the achievement of the company in the local context and offers a reading of Somewhere over the Balcony, Charabanc’s 1987 play which (...) depicts the lives of underprivileged working-class Catholic women in the infamous Divis Flats in Belfast. Showing the protagonists’ struggle with the everyday reality of sectarianism in Northern Ireland, it celebrates female creativity and jouissance. The article argues that the characters challenge the masculinist order by means of mimicry. Irigaray defines this strategy as a deliberate assumption of prescribed female roles, which involves a playful attitude to “mimesis imposed”—in other words, to the programmed repetition of socially sanctioned patterns. Mimicry, as well as other productive strategies help the female characters in the play to transform the balconies of their flats into an area of creativity and empowerment, which challenges binary thinking about the division into private and public space. Such a geopolitical reading of the play corresponds to the artistic agenda of the company, communicated by its very name. It also sheds light on Charabanc’s attempt to create a more inclusive and varied cultural space that would reach beyond gender, sectarian, and class divides in Northern Ireland. (shrink)

Paul Ricœur develops his phenomenological-hermeneutical theory of memory in his seminal Memory, History, Forgetting, and several preliminary studies to his monumental book.[1] As its title indicates, the monograph treats memory in conjunction with forgetting and history, placed within a wider horizon of what could be termed an ethics of forgiving. For the purpose of this article I will focus on the problems of memory and forgetting, ignoring history for the most part. Similarly, I do not explicitly deal with the (...) more specific issue of collective memory, which marks a transitional step from a proper phenomenology of memory to the epistemological problems of history and historiography. Even though the three main objects of Ricœur’s study are firmly interlinked, leaving aside history does not impinge on its general line of thought since the most fundamental problems of Ricœur’s discussion on history are imported from his discussion on memory, most notably that of the Greek eikon – representation. Rather than to engage in a wide-ranging ethical discourse, my aim is to focus on a more basic critique of Ricœur’s understanding of narrative, and the role he assigns to it in his theory of memory. -/- I argue that Ricœur’s Aristotelean-structuralist notion of narrative runs into problems when confronted with narratives which do not comply with its notions of order and synthesis. In addition, despite its pervasiveness in his theory, narrative is not adequately scrutinized by Ricœur. That my critique implies severe consequences for his ethics should become obvious, even though an analysis of what exactly these consequences entail must remain outside of this study. For the purpose of this article, it is enough to know these two points: first, that Ricœur’s theory of memory and forgetting is constitutive for his theory of history, which in turn functions as a critical remedy to our often unreliable memories; and second, that this dialectical relation between memory and history is situated within an ethical horizon. (shrink)

While theories of rationality and decision making typically adopt either a single-powertool perspective or a bag-of-tricks mentality, the research program of ecological rationality bridges these with a theoretically-driven account of when different heuristic decision mechanisms will work well. Here we described two ways to study how heuristics match their ecological setting: The bottom-up approach starts with psychologically plausible building blocks that are combined to create simple heuristics that fit specific environments. The top-down approach starts from the statistical problem facing the (...) organism and a set of principles, such as the bias– variance tradeoff, that can explain when and why heuristics work in uncertain environments, and then shows how effective heuristics can be built by biasing and simplifying more complex models. We conclude with challenges these approaches face in developing a psychologically realistic perspective on human rationality. (shrink)

Following the work of Philippe Lacoue-Labarthe, this essay argues that there is an implicit conception of mimesis operative in Heidegger’s conception of Dasein’s being-in-the-world. More specifically, it argues that an examination of Heidegger’s theory of repetition and play in relation to Dasein’s uncanniness illustrates Dasein’s tendency to turn away from mimesis and, instead, opt for the comfort of “mimetology,” the comfort of submitting to a levelled down identification with the ready-to-hand and the they-self. Ultimately this analysis, which (...) itself performs a mimetic re-reading of Being and Time, brings to the fore a counter-force within Heidegger’s thought that arguably resists what Lacoue-Labarthe calls Heidegger’s inadvertent reproduction of the metaphysics of presence and the worrisome political implications that attend it. Moreover, this re-reading suggests that, precisely when the implicit role of mimesis is emphasized, the temporal possibilities built into Dasein’s way of Being might also be understood in a new light. (shrink)

In A Million Years of Music, Gary Tomlinson develops an extensive evolutionary narrative that emphasises several important components of human musicality and proposes a theory of the coalescence of these components. In this essay I tie some of Tomlinson’s ideas to five constraints on theories of music’s evolution. This provides the framework for organising my reconstruction of his model. Thereafter I focus on Tomlinson’s description of ‘entraining’ Acheulean toolmakers and offer several criticisms. I close with some tentative proposals for (...) further theorising. (shrink)

“René Girard’s thoughts on the connection between religion and violence are just now becoming known in Germany,” wrote the philosopher Eckhard Nordhofen at the beginning of 1995 in the influential German weekly Die Zeit.1 Was Nordhofen correct with this assessment back then, or was he rather mistaken? Had not a first phase of reception of Girard’s works in the German-speaking world already begun in the late 1970s, or at the latest by the mid 1980s? One must note, though, that Girard (...) was never in fashion during the 1970s or 1980s and that these first attempts to incorporate his works into academic discussion came from individual scholars such as the Swiss Jesuit Raymund Schwager; Konrad Thomas, a sociologist based .. (shrink)

In _The Poetics of Political Thinking_ Davide Panagia focuses on the role that aesthetic sensibilities play in theorists’ evaluations of political arguments. Examining works by thinkers from Thomas Hobbes to Jacques Rancière, Panagia shows how each one invokes aesthetic concepts and devices, such as metaphor, mimesis, imagination, beauty, and the sublime. He argues that it is important to recognize and acknowledge these poetic forms of representation because they provide evaluative standards that theorists use in appraising the value of ideas—ideas (...) about justice, politics, and democratic life. An investigation into the intertwined histories of aesthetic and political accounts of representation—such as Panagia presents here—sheds light on how modes of poetic thinking delimit the questions of unity and diversity that continue to animate contemporary political theory. Panagia not only illuminates the structure of much contemporary political theory but also shows why understanding the poetics of political thinking is vital to contemporary society. Drawing on Gilles Deleuze’s critique of negation and his privileging of paradox as the source of political thought, Panagia suggests that a non-teleological concept of difference might generate insight into pressing questions about foreignness and citizenship. Turning to the liberal/poststructural debate that dominates contemporary political theory, he compares John Rawls’s concept of justice to Rancière’s ideas about political disagreement in order to demonstrate how, despite their differences, both thinkers comprehend aesthetic and moral reasoning as part and parcel of political writing. Considering the writings of William Hazlitt and Jürgen Habermas, he describes how the essay has become the exemplary genre of what is considered rational political argument. _The Poetics of Political Thinking_ is a compelling reappraisal of the role of representation within political thought. (shrink)

There are many touch points between the work of Jacques Derrida and René Girard. To me, as a student of literature, these two writers particularly stand out as great readers or great exegetes.1 The way they handle and combine texts, the way they dare to break with reading conventions, has proved to be really fruitful.Some time ago I watched a documentary about Derrida, made by Kirby Dick and Amy Ziering Kofman, published in 2002, carrying the simple title Derrida.2 I found (...) that this experimental documentary at the same time reflected Derrida’s many reservations, not to say his skepticism, as to the possibility of making portraits—and—proved to be far more revealing, even intimate, than a conventional documentary... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIMESIS AND SCAPEGOATING IN THE WORKS OF HOBBES, ROUSSEAU, AND KANT Wolfgang Palaver Universität Innsbruck i: "ntellectual fashion in our academic world forces us towards -originality. Searching for mimetic desire or traces of scape-goating in literature or philosophical texts gets therefore some applause because it has not been done before. It has become fashionable in the humanities to have your own special French intellectual to be innovative and (...) conquer new fields. For many ofus Girard's mimetic theory might be of some help to better our standings in originality. But what seems to be an easy game at first sight has its disadvantages, too. Applying mimetic theory gets at least as much criticism as it earns applause. What is praised as an original contribution by some might atthe same time be debased as something quite idiosyncratic by many others. I still remember the reaction of a quite reputable political scientist from Berkeley to a paper of Girard given at a little seminar at Stanford, in which he reflected on the origin of human culture in the scapegoat mechanism. The political scientist welcomed the paper in a friendly way, asking us, however, ifby taking Girard's thesis for granted one might not as well be allowed to say that culture is based on jellybeans. This strange joke is in a way a typical reaction to the mimetic theory ifwe remember how often people do not understand at all why it is of any importance to deal with mimetic desire and scapegoating. Mimetic theory seems to be either one of those fashions which are caused by the necessity to be original or a strange obsession of a small sect following a Wolfgang Palaver127 guru who at least understood that you just have to insist on some bizarre ideas long enough to get some recognition in the end. My paper will try to show that such a critique ofthe mimetic theory is definitely wrong. Whatever major work in political philosophy I read I often came across exactlythose questionsthat are addressed by the mimetic theory. I think the collaboration of some scholars in mimetic theory would allow it to write a history of political philosophy by focusing on mimesis and scapegoating without excluding any ofthe major authors. I will try to do this today by the examples ofHobbes, Rousseau and Kant. In a first step I will show you how these three founding fathers of modern political philosophy were all concerned with mimetic desire. The rise ofthe modem world forced them to view human beings as mimetic competitors. In a second, more difficult step I will focus on traces of the scapegoat mechanism in the works ofthese three authors. Although scapegoating is less visible than mimetic desire it is nevertheless possible to see how this relates to the violent origin of human culture. A third part will address the differences between Girard's view on mimetic desire and scapegoating and the comparable views taken by Hobbes, Rousseau, and Kant. These differences are caused by the respective relationships to the biblical revelation. Whereas Girard's theory emphasizes the importance of the Bible to understand mimesis and scapegoating, Hobbes, Rousseau, and Kant are representatives of the modern neglect of the biblical revelation. A comparison ofthese three authors with an Augustinian perspective helps to understand the way, in which they differ from Girard's mimetic theory. 1. Mimesis in the works of Hobbes, Rousseau, and Kant A. Hobbes Hobbes's anthropology describes human beings as genuinely mimetic (Achterhuis 23f; Palaver 1991, 40-45). In Hobbes's early treatise The Elements ofLaw Natural andPolitic this is most explicitly visible. Human beings desire according to the other by always comparing themselves with one another. "All joy and grief of mind" consists "in a contention for precedence to them with whom they compare themselves" (Hobbes 1994, 163f; see also 50-60; 1991, 119). Human life with all its passions is paralleled in this book to a race, which has "no other goal...but being foremost" (Hobbes 1994, 59). It is a race in which "Continually to be out-gone is misery. Continually to out-go the next before is felicity. 128 Mimesis and Scapegoating in Hobbes, Rousseau, & Kant And... (shrink)

This essay explores elements of the relationship between feminist activism and feminist theory focused on language. I examine the autobiographies of two seventeenth century Quaker women who were activists, and then use the writings of Luce Irigaray to interpret their work. For both the Quaker autobiographers and the French feminist philosopher, the concrete oppression of women is connected to the primacy of the word in western culture. Drawing on these sources, I argue that given the masculine economy of language, (...) resisting the dominance of men can be profoundly related to resisting the unrivalled primacy of the written word. The discursive disruption called for by feminist theory can be perhaps most profoundly accomplished with embodied action, while the activist concerns of feminism achieve greater potency when social action is also used to subvert discourse. (shrink)

Chapter I: The background to Aristotle's theory is provided by Aristophanes' Clouds in the debate between the traditionalists and Socratics on moral education. Aristotle steers a middle course between the old and new educations, preserving on the one hand, the role of filial ties in the transmission of values, and on the other, the importance of practical reason in providing a critical assessment of attachments. ;Chapter II: Here I argue against a common reading of Aristotle that views moral training (...) as merely a matter of habituation and practice whereby certain skills become second-nature. I propose instead that moral training is a training of "right pleasures and pains", or attachments to certain ends and objects of value. These I argue are transmitted through antecedent attachments to family. ;Chapter III: A theory of the development of character requires an analysis of emotions and desires constitutive of character. Aristotle regards emotions as intentional, where by intentional he means directed at certain objects regarded by an agent selectively, as the result of certain beliefs, perceptions, and phantasia. Thus, emotions have desiderative and cognitive elements, and training is directed at each. ;Chapter IV: Another aspect of moral training is paideia through music and tragedy. Both ensure for the transmission of a common core of cultural values, and thus extend training beyond the family to the city. At the heart of this paideia is the notion of mimesis. In music, mimesis is a process is one of association, whereby the pleasurable quality of music reinforces an attachment to the characters which music expresses. In tragedy, the identification is more complex. Katharsis through pity and fear requires that we identify not merely with characters, but with choice and actions and deliberations which lead to them. ;Chapter V: I conclude by studying Aeschylus' Oresteia as a tragedy which illustrates the notion of identification, as well as Aristotle's general belief that moral training takes place within the family. Through tragedy we see the complexities that develop within philia, and are forced, through pity and fear, to examine our own filial sentiments and obligations. (shrink)

The Republic’s ban on poetry is a major reason for the prominent place that liberal critics assign to Plato among the enemies of the open society, Friedrich Nietzsche's description of Plato as “the greatest enemy of art Europe has yet produced” being often cited. In this article, I argue that, while Plato's ethical stance remains unacceptable for most readers today, his understanding of aesthetic experience in the Republic appears highly perceptive when seen in the light of cognitive studies and can (...) be thought‐provoking for current debates. As I try to show in the first half of the article, Plato's assessment of responses to poetry and theater resonate with embodied and enactive views of cognition. To corroborate this thesis, I point out in the second half that while theory has been blind to the significance of Plato's aesthetics, its major ideas are substantiated in practice. Contemporary psychotherapy and its increasing deployment of virtual reality unknowingly and with the opposite intent realize Plato's approach to the cognitive dynamics and ethical potential of aesthetic experience. (shrink)

The case of Kafka stands at the very centre of Adorno’s articulation of modernist mimesis. His main study of Kafka is the long and complex essay “Notes on Kafka” (1953), which he republished in the collection Prisms (1955). But numerous references to Kafka are found throughout his unfinished masterpiece, Aesthetic Theory (first published in 1970) and in the four part collection of essays, Notes to Literature.

On pp. 47-51, "Fifth Scenario: The Nazi and His Jew", discusses Adorno's theory of mimesis applied to the phenomenon of Nazi antisemitism. Influenced by Freud's theory, Adorno discussed in "Dialektik der Aufklärung" (1947) the Nazi phobic and distorted image of the Jew. In Adorno's interpretation, the imaginary portrait of the Jew created by the Nazis is in fact their self-portrait, expressing their longing for unlimited power and identification with an imaginary aggressor in order to be themselves the (...) real aggressor. (shrink)

Brings the figure of the voice and the problem of mimesis in Heidegger and post-Heideggerian continental thought to bear on the dismissal of language by the affective and aesthetic turns of contemporary critical theory.

René Girard stands as one of the most fascinating figures in the study of violence and religion. As a thinker, theorist, and theologian, his contribution to literary and cultural theory is indicative of his profound ability to see beyond societal phenomena into the very mechanizations of human existence. Historians, economists, philosophers, psychologists, and even neuroscientists have followed Girard's lead and stepped into the waters of mimetic theory in order to surf the waves of such concepts as desire, imitation, (...) and violence. Yet amid the number of articles, monographs, and anthologies produced by Girard and his colleagues in the Academy, only a few scholars have struck out further into the open seas of... (shrink)

The aporias of time that Paul Ricœur identifies in the conclusion to his three-volume Time and Narrative offer a fecund starting-point from which to consider how the poetics of narrativity figures in a philosophy of the will. By setting the poetics of narrativity against the aporetics of temporality, Ricoeur highlights the narrative art’s operative power in drawing together incidents and events in answer to time’s dispersion across the present, the past, and the future. In turn, the confession of the limits (...) of narrative opens the way to a broader consideration of the idea of the unity of history in the absence of a meta-historical plot. This idea calls for a reflection on the ethical and political imperative of making freedom a reality for all. By taking the theory of freedom’s actualization as a touchstone, I argue that the vision of a reconciled humanity that for Ricœur is the intended object of the poetics of the will acquires the force of a directive idea. The capacity to refashion the real from within thus proves to be decisive for drawing out the connection between the aporetics of temporality, the poetics of narrativity, and Ricœur’s philosophical anthropology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIMETIC THEORY AND THE PROGRAM OF ALCOHOLICS ANONYMOUS Lillian E. Dykes Memphis, Tennessee No prophet can claim to bring a final message unless he says things mat will have a sound of reality in the ears of victims.... (William James, The Variety ofReligious Experience) Is it possible to live nonviolently? The works of René Girard involve us in understanding of the Gospel's revelation of the mechanisms of violence (...) and nonviolence, but how is one to begin applying the Gospel to end violence? If Girard shows us thatviolence is the basis ofall culture and religion, where does one find a new model today? Ifthe shift from human to transcendent mediation results only in personal destruction, then why bother? IfGirard is correct, and the power ofthe nonviolent Gospel is moving like a vapor through the world, where are the people who are living non-violently? Is there corroboration for Girard's statement, "A new kind ofhumanity is in the process of gestation; it will be both very similar to and very different from the one featured in the dreams of our Utopian thinkers" (Things Hidden 445)? Ifit were possible to show that someone, somewhere were able to live in community without the protection ofscapegoating, following their lead might save us from the spirals ofviolence we arecreating. Ifone could find a design or an application ofGirard's theories, with confirmation that the resultis peace, would people be willingto consider giving upthe protection of violence? Some demonstration that Girard's understanding of Gospel Lillian E. Dykes91 non-violence is practical and possible seems necessary in order to hasten a non-violent cure for our violent world. Perhaps we must accept on faith that it is possible to live non-violently. Ifit were not, then why would the Gospels have ever been written and why have they persisted? In my examination ofhistorical applications ofnonviolence, it seemed that whenever non-violence was implemented, the results were remarkable. Of course, we think of Jesus, Paul, Francis, Gandhi, and Martin Luther King...but they are all dead and most ofthem were murdered. Yet there is a modern community where Girard's theories ofnon-violence through the relinquishment ofhuman mediation is being lived out daily. And, thankfully, it is a flourishing community that experiences healing and renewal through the practice ofwhat René Girard terms "the abandonment ofmimetic desire" (Things Hidden 430). The world is witnessing the healing power of non-violence without knowingthatGospel non-violence is involved. Millions ofmen andwomen are attempting to live non-violently in the "Utopian" community ofGirard and the Gospels without havingread Girard and withoutthe need to believe in the truth ofthe Gospels. It seems to me that the twentieth century has seen the establishment of a community not based upon scapegoating but, rather, upon having been scapegoated. It is a fellowship ofthe Spirit that distinguishes itself by being a fellowship ofbelievers without "religious" scapegoating. Itresembles first century Christianity and is experiencingthe same explosive growth. This phenomenon is what I call the non-violent "religion" ofAlcoholics Anonymous. In this Fellowship of A. A. we can see what might be called, in Girardian terms, a community of scapegoats. Since 1935 there has been a laboratory wherein the theories of René Girard are beingapplied. Bill Wilson, anothervisionary, intuitedthe underlying mimetic principles which Girard shows us, and implemented his understandings in orderto escape the violence1 ofhis addiction to alcohol. Though he did not articulate what he discovered in the way that René Girard has, Wilson found a way to break free ofmimetic desire. He knew that to continue to drink would result in his death (AA 13). Though he did not speak ofhis dilemma in terms ofmimetic crisis, he found a way out of alcoholism by exchanging the mediator of his desires. What Girard discovered and now describes is demonstrated by the practical applications 1In the words of Jack Alexander, "There is a close resemblance between the criminal psychopath and the alcoholic mind. Both are grandiose, resentful, defiant, and hating of authority; both unconsciously destroy themselves trying to destroy others" (Pass it on 364). 92Mimetic Theory andAlcoholic Anonymous contained in the writings of Wilson, in the book Alcoholics Anonymous, with its Twelve Steps, and the Twelve Traditions... (shrink)

It is obvious that bringing to light the founding murder completely rules out any compromise with the principle of sacrifice, or indeed with any conception of the death of Jesus as sacrifice.If anyone says that a true and proper sacrifice is not offered to God in the Mass … let him be anathema.René Girard's thought has produced both admiration and unease among Catholic sacramental theologians struggling to come to grips with what his theory of scapegoating and sacrifice implies for (...) "the holy sacrifice of the Mass." The language of sacrifice permeates the liturgy itself, official Church teaching—including the documents of Vatican II—and centuries of Eucharistic theology, so Girard's critique has the potential to... (shrink)

The author has made a detailed study, more detailed, he rightly claims, than hitherto attempted, of the concept of mimesis in aesthetic thought and has devoted equal space to Greek and Sanskrit writers... Wilamowitz, the doyen of modern classical scholars, describes mimesis as a 'fatal word' 'rapped out' by Plato. But the present author has demonstrated with great cogency that the word was not 'rapped out' by Plato at all, and that the concept and the word are both (...) as old as Greek thought. He shows too, once again with considerable scholarship and perceptiveness, how Greek art was bound to be sensuous, unmystical and also 'formal' in the best sense of the term. In the four long chapters of the first part of his thesis the author gives at every step evidence of deep study and illuminating insight, and can claim originality both in approach and argument... The chapter on Aristotle contains one of the best discussions of mimesis I have read... the most striking portion of his thesis is his elucidation of poetic truth according to Aristotle. -/- -- Prof. S. C. Sengupta, Jadavpur University -/- The author provides a faithful rendering of both Greek and Indian ideas. The work is valuable for its expositions especially of the Indian theories of art. -/- -- V. K. Chari, Journal of Aesthetics and Art Criticism (JAAC), USA, Spring 1979 -/- ... A fairly exhaustive comparative study of the concept of mimesis in Greek and Indian aesthetics... wide ranging and at the same time well controlled acquaintance with this proliferating literature is revealed throughout... the co-relation of the Aristotelian linking-up of 'imitation' and 'completion' with Abhinavagupta's integration of imitation with completion is very suggestive and is a help towards the formulation of a universal aesthetic comprising body and soul, the immediate impact of Appearance and the slow revelation of Reality... (the author) has mastered the material and achieved a steady progression in argument so as to sustain the central thesis. -/- -- K. R. S. Iyengar, Professor of English and Vice-Chancellor, Andhra University -/- The book is a significant contribution towards understanding the essentials of Indian aesthetics apropos the Greek (and, through the Greek, the Western)... The author has surveyed the entire field in a masterly manner. His erudition and judgement are both commendable. -/- -- S. K. Ramachandra Rao, Deccan Herald (03.09.1978) -/- ...The author's views hold good even among modern critics including the ones known as 'the Chicago school' and experimental psychologists. -/- -- Indian and Foreign Review (August 1978) -/- The work is a valuable addition to the literature on aesthetics. -/- -- The Indian Express (12.03.1978) -/- The comparison is too smooth and sharply compartmentalized... The book is of great value to those who are interested in the comparative and historical evolution of a very important concept in aesthetics. -/- -- The Hindustan Times (31.12.1978) -/- The work is in two parts. The first part in four chapters examines the concept of imitation in Greek thought, and the second in three chapters explores the meaning of the term in Indian thought... the author offers a brilliant interpretation of Aristotle's theory in the fourth chapter (Pt. 1) which is the best one in the book... The work is a pioneering one and it repays a careful examination. It is probably the first of its kind and every student of aesthetics must read it. -/- -- Prof. P. S. Sastri, Nagpur Times . (shrink)