...Artemy Magun This article discusses the relationship between two philosophies of the twentieth century: those of Theodor W. Adorno and Philippe Lacoue-Labarthe. Both authors emphasize the notion of mimesis and see it as an ontological and an epistemological category and as the site...

...Michael McGillen The historiographical status of Erich Auerbach’s theory of figural interpretation, which he develops in “Figura” (1938) and Mimesis (1946), is complex. In its insistence on the fundamental historicity of its objects—of both the figure and its fulfillment—it carries forth...

... an unexamined alternative to philosophical anthropology’s revival. A reconstruction of Adorno’s position shows how Adorno displaces anthropological problems into his philosophy of art, where the principle of mimesis offers a potentially nonanthropological model of human potential. Yet it also reveals how...

... German Critique, Inc. 2021 Gotthold Ephraim Lessing aesthetics eighteenth century mimesis Laocoön Whence the narrow constipation of a strictly human attitude, the magisterial look of the face with a closed mouth , as beautiful as a safe. —Georges Bataille, “Mouth” The scream...

...). In the culture industry’s parodic mimesis of reconciliation, this undominated nature is made to resurface so it can again be seen as that which must be repressed. Thus the culture industry forces the masses to desire their own repression and reifi cation through its mimesis of a subject and object...

... real- ism, Mimesis, he claims that fi lm is the realistic medium par excellence, since it tends to explore the “resilient texture” of everyday life, “this matrix of all other modes of reality.”7 Here Kracauer emphasizes once again the signifi - cance of the ordinary. However, the nexus between...

... through mimesis, not through an increasing distance from the object” (DE, 7). Magic is a “bloody untruth” that deifies the natural. It needs to submit to rea- son, to be sure, but while myth is less bloody—in its drive toward abstraction and regularization, it escapes the fierce literalism of magic...

... by it, moved. ( AoR , 1:305–6; ÄdW , 1:347–48) Both the creator of art and the recipient are here involved in a process that can be characterized as a mimesis of affect. 15 Mediation of experience is understood to operate through an aesthetic medium that is a “crystallization” of an intensity...

... of innervation largely depends on the specific reading of “mimesis” given in critical theory.14 Mimesis here has less to do with visual resemblance than with a “becoming like” relation, a form of experience, of relating to and engaging the external world in which the distinction between subject...

... of reifi cation, and Benjamin’s of mimesis and constellation stimulated Adorno in signifi cant ways. To this should be added Adorno’s careful reading of Sig- mund Freud; his lifelong intensive concern with the “languages” of art, espe- cially music; his critical continuation and rethinking of idealist...

... of Leonardo’s “method,” which Blumenberg discusses at great length, just to cut short the ambiguities of Renaissance perspective as a “symbolic form.” Copyright © 2022 by New German Critique, Inc. 2022 Hans Blumenberg Leonardo da Vinci Paul Valéry mimesis theory of the image Considerations...

..., however, the inverse; forms, during the historical process, become second-order material. See AT , 198. 24. The category of pain, which plays an important role in the relationship between expression and mimesis, is toned down to the pathologies produced by the capitalist environment and is partly...

... dimension of the music, but I hesitate to use the term expression because it is almost always misunderstood, at least as Adorno intends it. What we have here is a version of Adorno’s dialectic of mimesis and ratio, as he formulates it in Ästhetische Theorie, and he sees expression as a resistance...

.... When viewed in the larger context of Adorno’s work, his word Nachkonstruk­ tion is negatively charged in that it conjures a form of mimesis that he generally abhorred: the direct, reflective, and reproductive kind. As he argues through­ out Aesthetic Theory, what he wishes for in the work of art...

... and behaviourist psychology, physiological aesthetics, and acting theory, in particular the Soviet avant-garde discourse of biomechanics” ( CE , 140). Like Susan Buck-Morss, who similarly notes how Benjamin’s “theories of mimesis and innervation . . . resonate intriguingly with discussions of biorhythmics...

... . In Alexander Kluge: Raw Materials for the Imagination , edited by Forrest Tara , 197 – 208 . Amsterdam : Amsterdam University Press , 2012 . Koch Gertrud . “ Mimesis and Bilderverbot .” Screen 34 , no. 3 ( 1993 ): 211 – 22 . Kracauer Siegfried . Theory of Film...

...: Consciousness-Raising or Rescuing Critique,” trans. Freder- ick G. Lawrence, in Philosophical-Political Profiles(Cambridge, MA: MIT Press, 1983), 144. 22. See also Richard Wolin, “Utopia, Mimesis, and Reconciliation: A Redemptive Critique of Adorno’s Aesthetic Theory,” Representations, no. 32 (1990...

..., Martin Jay argues that it is precisely the “historical hopes, which despite everything Adorno never lost, that most distinguish his meditations” from postmod- ernist defenses of “an endlessly oscillating mimesis that . . . steadfastly resists ontological stability, subjective integrity...

.... Academic commentary on cultural habitus proffered by new media fre- quently deploys a standard anthropological approach to the subject of embod- ied knowledge. This approach organizes its argument around key categories, such as body techniques, mimesis, dressage, discipline, and so on. Following...

... and Migration, 1955–2005 . Berkeley : University of California Press . Konuk Kader . 2010 . East West Mimesis: Auerbach in Istanbul . Stanford, CA : Stanford University Press . Lau Jörg . 2011 . “ Deutschstunden .” In Transit Deutschland: Debatten zu Nation und Migration , edited...