Mimesis, Plato and Arts Essay Example | Topics and Well Written Essays - 2000 words

Mimesis, Plato and Arts - Essay ExampleThis, despite the fact, that Baumgarten coined the term in 1735. Rather, it intends to raise the depression that mimesis and aesthetics have been considered as an integral in understanding both the mankind nature and the human condition in the story of humanity. In this context, mimesis and aesthetics draw us towards the notion that there is continue effort in understanding the relationship betwixt humanistic discipline, society and humanity, as there is a continuing attempt to grasp beauty, forms, myth and structures in and through the arts. In this regard, Plato is no diametrical from other rarefied thinkers. In The Republic, Plato has provided one of sharpest arguments against mimesis and arts to the point that Plato proposed the position that the arts should be banned in the metropolis (392a-401e 595a). Platos concept of mimesis is complex (Cohn 45). However, it has been valuated as negative towards the arts (Schipper 200). Nonethele ss, despite the seeming negative feeling to Platos stand, Plato is correct in ascertaining that any forms of mimetic arts should be prohibited. As the purpose of this make-up is to create a deeper understanding mimesis vis-a-vis arts, it will attempt to address the following questions. First, what are the notions of mimesis relevant to arts? Second, what are the roles of imagination and play in mimetic exploration? Third, what is the value (or harm) of mimetic exploration? Finally, what is its connection to aesthetic value of a work of art? Recognizing the enormous academic literatures related to the qualified matter, the study would focus on Platos theory of mimesis. ... It gained more impetus when the word mimio is associated with the term mimeisthai, which was apply by Homer, to concern to the chorus of Maidens in the Hymn to Apollo who imitated the voices of all men and captivated the audience. As mimeisthai refer to imitation of voices in chorus, Aeschylus introduced the c oncept of mimeisthai as imitating movements of animals in Pindar. In addition, Aeschylus, in the play Theo roi, also instigated the musical theme of mimeisthai as referring to an object that has taken a realistic form by rendering its appearance as lifelike. (Halliwell 18 -19) From its evolving etymology, it can be observed that since the Ancient period the word mimesis has been used within the arts poetry, music, dance and visual arts. In addition, the term is consistently associated with actions, both in the performing and visual arts, as imitating or mimicking others. As such, even during the Ancient period mimesis has been praised in view of its effectiveness in deceiving others (Halliwell 20). These evident characteristics of the term mimesis are indispensable in understanding the reason why there are different conceptions of mimesis in relation to art. Conceptions of Mimesis The concept of mimeses has been approached from several perspectives. It is viewed as referring to im itation. It is ascribed to the dichotomy between truth and lies, and, it is considered as referring to the bank bill between the interior feelings and sentiments of men and women vis-a-vis the outside world. Finally, it connotes the supposition that it assists in identifying the gap and tension between art and nature, imagination and creativity, illusion and idealism