Approaches to Literature (week 3)

※Mimesis

Mimesis (/maɪˈmiːsəs/; Ancient Greek: μίμησις (mīmēsis), from μιμεῖσθαι (mīmeisthai), "to imitate," from μῖμος (mimos), "imitator, actor") is a critical and philosophical term that carries a wide range of meanings, which include imitation, representation, mimicry, imitatio, receptivity, nonsensuous similarity, the act of resembling, the act of expression, and the presentation of the self.

In ancient Greece, mimesis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative. After Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society, and its use has changed and been reinterpreted many times since.

One of the best-known modern studies of mimesis, understood as a form of realism in literature, is Erich Auerbach's Mimesis: The Representation of Reality in Western Literature, which opens with a famous comparison between the way the world is represented in Homer's Odyssey and the way it appears in the Bible. From these two seminal Western texts, Auerbach builds the foundation for a unified theory of representation that spans the entire history of Western literature, including the Modernist novels being written at the time Auerbach began his study. In art history, "mimesis", "realism" and "naturalism" are used, often interchangeably, as terms for the accurate, even "illusionistic", representation of the visual appearance of things.

The Frankfurt school critical theorist T. W. Adorno made use of mimesis as a central philosophical term, interpreting it as a way in which works of art embodied a form of reason that was non-repressive and non-violent.

During the nineteenth century, the racial politics of imitation towards African Americans influenced the term mimesis and its evolution.

Mimesis has been theorised by thinkers as diverse as Plato, Aristotle, Philip Sidney, Samuel Taylor Coleridge, Adam Smith, Sigmund Freud, Walter Benjamin, Paul Ross, Theodor Adorno, Erich Auerbach, Luce Irigaray, Jacques Derrida, René Girard, Nikolas Kompridis, Philippe Lacoue-Labarthe, Michael Taussig, Merlin Donald, and Homi Bhabha.

※Catharsis

Catharsis (from Greek κάθαρσις katharsis meaning "purification" or "cleansing") is the purification and purgation of emotions—especially pity and fear—through art^[1] or any extreme change in emotion that results in renewal and restoration. It is a metaphor originally used by Aristotle in the Poetics, comparing the effects of tragedy on the mind of a spectator to the effect of a cathartic on the body.

※Dramatic uses

Catharsis is a term in dramatic art that describes the effect of tragedy (or comedy and quite possibly other artistic forms) principally on the audience (although some have speculated on characters in the drama as well). Nowhere does Aristotle explain the meaning of "catharsis" as he is using that term in the definition of tragedy in the Poetics (1449b21-28). G. F. Else argues that traditional, widely held interpretations of catharsis as "purification" or "purgation" have no basis in the text of the Poetics, but are derived from the use of catharsis in other Aristotelian and non-Aristotelian contexts.For this reason, a number of diverse interpretations of the meaning of this term have arisen. The term is often discussed along with Aristotle's concept of anagnorisis.

D. W. Lucas, in an authoritative edition of the Poetics, comprehensively covers the various nuances inherent in the meaning of the term in an Appendix devoted to "Pity, Fear, and Katharsis". Lucas recognizes the possibility of catharsis bearing some aspect of the meaning of "purification, purgation, and 'intellectual clarification'" although his discussion of these terms is not always, or perhaps often, in the precise form with which other influential scholars have treated them. Lucas himself does not accept any one of these interpretations as his own but adopts a rather different one based on "the Greek doctrine of Humours" which has not received wide subsequent acceptance. Purgation and purification, used in previous centuries, as the common interpretations of catharsis are still in wide use today. More recently, in the twentieth century, the interpretation of catharsis as "intellectual clarification" has arisen as a rival to the older views in describing the effect of catharsis on members of the audience.

※Ode on a Grecian Urn

"Ode on a Grecian Urn" is a poem written by the English Romantic poet John Keats in May 1819 and published anonymously in the January 1820, Number 15, issue of the magazine Annals of the Fine Arts (see 1820 in poetry).

The poem is one of several "Great Odes of 1819", which includes "Ode on Indolence", "Ode on Melancholy", "Ode to a Nightingale", and "Ode to Psyche". Keats found earlier forms of poetry unsatisfactory for his purpose, and the collection represented a new development of the ode form. He was inspired to write the poem after reading two articles by English artist and writer Benjamin Haydon. Keats was aware of other works on classical Greek art, and had first-hand exposure to the Elgin Marbles, all of which reinforced his belief that classical Greek art was idealistic and captured Greek virtues, which forms the basis of the poem.

※Roman Fever

Plot

In the story, Grace Ansley and Alida Slade were middle-aged American women visiting Rome with their daughters, Barbara Ansley and Jenny Slade. The elder women grew up in Manhattan, New York, and were friends from childhood. A youthful and romantic rivalry led Mrs. Slade to nurture feelings of jealousy and hatred against Mrs. Ansley.

In the opening pages of the story, the two women compare their daughters and reflect on each other's lives. Eventually, Mrs. Slade reveals a secret about a letter written to Mrs. Ansley on a visit to Rome many years ago. The letter was purportedly from Mrs. Slade's fiancé, Delphin, inviting Mrs. Ansley to a rendezvous at the Colosseum. In fact, Mrs. Slade herself had written the letter, in an attempt to get Mrs. Ansley out of the way of the engagement by disappointing her with Delphin's absence (and, it is implied, to get Mrs. Ansley sick with Roman Fever). Mrs. Ansley is upset at this revelation, but reveals that she was not left alone at the Colosseum—she responded to the letter, and Delphin arrived to meet her. Mrs. Slade eventually states that Mrs. Ansley ought not to feel sorry for her, because "I had [Delphin] for twenty-five years" while Mrs. Ansley had "nothing but a letter he didn't write." Mrs. Ansley responds, in the last sentence of the story, "I had Barbara."

Analysis

A deeper reading of Edith Wharton’s “Roman Fever” displays a major emphasis on the multiple figurative dimensions of knitting. Wharton establishes this chief theme early on by making sure that the matter of knitting is the first subject to receive any attention: “let’s leave the young things to their knitting.” The first impression of the knitting women is that they are incapable of anything more than the monotonous act of knitting; this sets the stage for the stereotypical mundane middle-aged woman image to be blasted apart.

Video

※Irony

Irony (from Ancient Greek εἰρωνεία (eirōneía), meaning 'dissimulation, feigned ignorance'), in its broadest sense, is a rhetorical device, literary technique, or event in which what appears, on the surface, to be the case, differs radically from what is actually the case. Irony may be divided into categories such as verbal, dramatic, and situational.

Verbal, dramatic, and situational irony are often used for emphasis in the assertion of a truth. The ironic form of simile, used in sarcasm, and some forms of litotes can emphasize one's meaning by the deliberate use of language which states the opposite of the truth, denies the contrary of the truth, or drastically and obviously understates a factual connection.

Other forms, as identified by historian Connop Thirlwall, include dialectic and practical irony.

Verbal Irony

Verbal irony is a statement in which the meaning that a speaker employs is sharply different from the meaning that is ostensibly expressed. An ironic statement usually involves the explicit expression of one attitude or evaluation, but with indications in the overall speech-situation that the speaker intends a very different, and often opposite, attitude or evaluation.

Dramatic Irony

This type of irony exploits the device of giving the spectator an item of information that at least one of the characters in the narrative is unaware of (at least consciously), thus placing the spectator a step ahead of at least one of the characters. Connop Thirlwall in his 1833 article On the Irony of Sophocles originally highlighted the role of irony in drama. 

Situational Irony

This is a relatively modern use of the term, and describes a sharp discrepancy between the expected result and actual results in a certain situation.

※Roman Numeral

※Plagiarism

Plagiarism is the "wrongful appropriation" and "stealing and publication" of another author's "language, thoughts, ideas, or expressions" and the representation of them as one's own original work.

Plagiarism is considered academic dishonesty and a breach of journalistic ethics. It is subject to sanctions like penalties, suspension, and even expulsion. Recently, cases of 'extreme plagiarism' have been identified in academia.The modern concept of plagiarism as immoral and originality as an ideal emerged in Europe in the 18th century, particularly with the Romantic movement.

Plagiarism is not in itself a crime, but can constitute copyright infringement. In academia and industry, it is a serious ethical offense. Plagiarism and copyright infringement overlap to a considerable extent, but they are not equivalent concepts, and many types of plagiarism do not constitute copyright infringement, which is defined by copyright law and may be adjudicated by courts. Plagiarism is not defined or punished by law, but rather by institutions (including professional associations, educational institutions, and commercial entities, such as publishing companies).

※Affixes

hypo-:word-forming element meaning "under, beneath; less, less than" (in chemistry, indicating a lesser oxidation), from Greek hypo (prep. and adverb) "under, beneath; up from under; toward and under (i.e. into)," from PIE root *upo "under." hypothalamus hypogean hypostasis

para-:before vowels, par-, word-forming element meaning "alongside, beyond; altered; contrary; irregular, abnormal," from Greek para- from para (prep.) "beside, near, issuing from, against, contrary to," from PIE *prea, from root *per- (1) "forward," hence "toward, near, against." Cognate with Old English for- "off, away."

paratransit  parasite  parapraxis

sub-:word-forming element meaning "under, beneath; behind; from under; resulting from further division," from Latin preposition sub "under, below, beneath, at the foot of," also "close to, up to, towards;" of time, "within, during;" figuratively "subject to, in the power of;" also "a little, somewhat" (as in sub-horridus "somewhat rough"), from PIE *(s)up- (perhaps representing *ex-upo-), a variant form of the root *upo "under," also "up from under." The Latin word also was used as a prefix and in various combinations.

In Latin assimilated to following -c-, -f-, -g-, -p-, and often -r- and -m-. In Old French the prefix appears in the full Latin form only "in learned adoptions of old Latin compounds" [OED], and in popular use it was represented by sous-, sou-; as in French souvenir from Latin subvenire, souscrire (Old French souzescrire) from subscribere, etc.

The original meaning is now obscured in many words from Latin (suggest, suspect, subject, etc.). The prefix is active in Modern English, sometimes meaning "subordinate" (as in subcontractor); "inferior" (17c., as in subhuman); "smaller" (18c.); "a part or division of" (c. 1800, as in subcontinent).

-graph:modern word-forming element meaning "instrument for recording; that which writes, marks, or describes; something written," from Greek -graphos "-writing, -writer" (as in autographos "written with one's own hand"), from graphe "writing, the art of writing, a writing," from graphein "to write, express by written characters," earlier "to draw, represent by lines drawn" (see -graphy). Adopted widely (Dutch -graaf, German -graph, French -graphe, Spanish -grafo). Related: -grapher; -graphic; -graphical.