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Mimesis and Its Romantic Reflections by Frederick Burwick

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By Frederick Burwick

In Romantic theories of artwork and literature, the suggestion of mimesis—defined as art’s mirrored image of the exterior world—became introspective and self-reflexive as poets and artists sought to symbolize the act of creativity itself. Frederick Burwick seeks to clarify this Romantic aesthetic, first through supplying an knowing of key Romantic mimetic ideas after which through studying manifestations of the mimetic procedure in literary works of the period.
Burwick explores the mimetic thoughts of "art for art's sake," "Idem et Alter," and "palingenesis of brain as art" via drawing at the theories of Philo of Alexandria, Aristotle, Immanuel Kant, Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas De Quincey, and Germaine de Staël. Having tested the philosophical bases of those key mimetic strategies, Burwick analyzes manifestations of mimesis within the literature of the interval, together with ekphrasis within the paintings of Thomas De Quincey, reflected photos within the poems of Samuel Taylor Coleridge and William Wordsworth, and the twice-told story within the novels of Charles Brockden Brown, E. T. A. Hoffmann, and James Hogg. even supposing artists of this era have generally been pushed aside in discussions of mimesis, Burwick demonstrates that mimetic techniques comprised an important component to the Romantic aesthetic.
Reviews:
Competing or reflected narratives are proven to name into query the character of storytelling itself, yet Burwick's dialogue of this quite ordinary narratological element in those works is unique and concise. His ebook mirrors and renews a pressure of research in Romantic literature, giving one may perhaps in addition say a lot foodstuff for mirrored image. --David E. Latané, Jr., South Atlantic Review
One walks clear of this publication with a powerful feel of gratitude for a student and critic whose command of conventional texts and present literary conception is robust sufficient to cajole us that the top literary scholarship and theoretical dexterity can paintings a similar highway. --Peter Brier, ecu Romantic Review
One walks clear of this publication with a robust experience of gratitude for a pupil and critic whose command of conventional texts and present literary concept is powerful adequate to cajole us that the top literary scholarship and theoretical dexterity can paintings an analogous highway. --Peter Brier, ecu Romantic Review

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Schiller, however, could not grant to the material medium of art the same freedom the artist might attain in imaginative conception. ” Not simply the sculptor’s marble but even the poet’s language inhibited freedom of ideas. ”29 Über die ästhetische Erziehung des Menschen proposes that human beings acquire their sense of freedom through art, because art reveals the human potential for rising above the limitations of a life of mere thoughts or sensations. Art is free play. As a part of intellectual reflection, a person develops a “Formtrieb,” a drive to find shape, order, and the permanence of truth in the flux of impressions; this drive is accompanied by a “Stofftrieb,” which delights in the sensuous variety and change as part of the experience of objective reality (12.

7 A copy of these notes was in the hands of Karl August Böttiger, school director in Weimar (ridiculed by Goethe and Schiller as “Magister Ubique”), who showed them to de Staël. Desiring Robinson as her personal tutor in Schelling’s philosophy, she requested Böttiger to invite him to visit her: “Madame de Staël, from whose lips flow spirit and honeyed speech [Geist und Honigrede], wishes to make your acquaintance, dearest Sir and Friend. She longs for a philosophical conversation with you, and is now busied with the Cahier [notes] on Schelling’s ‘Aesthetics,’ which I possess through your kindness.

In Chapter 3, “Mimesis of the Mind,” I further examine Coleridge’s use of Schelling’s philosophy of art. The issue in this chapter, however, is what bearing the concept of l’art pour l’art, or Kunst an sich, had on Coleridge’s own ex35. Frederick Burwick, Illusion and the Drama, pp. 191–229. 36. , being Selections from the Remains of Henry Crabb Robinson, p. 131. 37. Henry Crabb Robinson, The Correspondence of Henry Crabb Robinson with the Wordsworth Circle, 1808–1866, 2: 401, 404. Burwick Ch1 2/14/01 3:01 PM Page 35   '   planation of the mimetic process, and what he contributed to the dissemination and evolution of this foundational idea in aesthetics and critical theory.

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