THE CONCEPT OF IMITATION IN PLATO AND ARISTOTLE

Abstract

Avenirse and Aristotle argue that designer (Demiurge) and poet imitate nature, thus, a work of art is reflecting nature. However , they have several views on the functions of imitation in art and literature. Bandeja believes in the presence of the ideal globe, where is available a real type of every subject found in character. A work of art –which reflects nature is twice far from the reality it represents. Aristotle, on the other hand, does not cope with the ideal universe, instead this individual analyses characteristics. He states that a work of art does not copy nature since it is, but as it must be. In this feeling, an artist does not break the truth nevertheless reflects the truth. Key Words: Counterfeit, art, materials, mimesis, etymology, ethic. Intro

Avenirse and Aristotle attribute different meanings for the term ‘mimesis'; Plato looks at ‘mimesis' in ethical and political framework, Aristotle uses ‘mimesis' while an visual phenomenon. They will both consent that poetry is mimetic but they will vary idea about poetry and ‘mimesis'. The present paper aspires first to define ‘mimesis' and explain the historical and linguistic background in the term, in that case to analyze the concept of ‘mimesis' in Plato and Aristotle. In literature the word ‘mimesis' has two varied applications; it can be used " to establish the nature of literature and other disciplines and to indicate the regards of one fictional work, which in turn serves as a model. ” Avenirse and Aristotle take ‘mimesis' to determine the nature of art, yet they will ascribe diverse meanings and value to it. Escenario and Aristotle consider the historical and etymological background of the term, therefore , you ought to know about the linguistic and historical backdrop of the term ‘mimesis' to comprehend what kinds of meaning and benefit they attribute to the concept. Linguistically, the root word is usually ‘mimos'; mimesthia, mimesis, mimetes, mimetikos, and mimema will be derived from ‘mimos'. Mimesthia means imitation, rendering or characterization; mimos and mimetes select the person who also imitates or perhaps represents, where ‘mimos' at first refers to the recitation or dramatic functionality in the circumstance of remarkable action. The mime, the kind of noces given by wealthy man, is most probably created from mimos The noun ‘mimesis' as well as matching verb mimeisthai refer to the re-enactment and dance through ritual and myth. In Athenian crisis the re-enactment is equivalent to performing out the role of a mythological figure and ‘mimesis' in that context implies the imitation of the previously re-enactment of the myth and rituals. Historically, the word ‘mimesis' as re-enactment first looks in this kind of rituals, plus the historical source of the term, as situated in Dionysian conspiracy drama, coincides this meaning in that ‘mimesis' in both instances refers to imitation, representation and expression. It truly is argued that myth, and divine emblems of the rituals are converted to artistic-dramatic representation by which it became possible to represent the divinity and gods in drama. Misfortune, for instance is a transformation of the myth and rituals. In a different framework ‘mimesis' may well refer to id. People recognize themselves by using their mimetic ability whenever they see themselves in the other and perceive a state of mutual equality. In this sense, ‘mimesis' is definitely distinct coming from mimicry, which will implies just a physical, without mental relationship. That is, a person relation the ‘Other' as similar and presumes the ‘Other' to be undertaking the same backwards. Associated with the physical aspect of ‘mimesis' is their performative aspect, as a great actualization, a presentation of what has been mimetically indicated. Thus, the term ‘mimesis' is definitely combined with an action-oriented speaking. The term ‘mimesis' may also direct the simile, similarity and representation; it might refer to the symbolization worldwide when we consider it since...