Nonetheless, the category of mimesis is reserved exclusively in Book X for its artistic and poetic and indeed, its tragic expressions, with Homer described as “the most poetic and first of the tragic poets” (607a). SUBMITTED TO Plato’s Apology is an example of his proposed ideal form of prose, showing Socrates to be speaking from logos (logic) as opposed to the former Greek poet’s employment of catharsis as the prime vessel for literature’s performance. Plato writes: “… poetry… not admitting at all any part of it that is imitative. No view expressed in the dialogues can with any certainty be attributed to Plato himself, and if the Seventh Letter is to be believed authentic, this is for very conscious and explicitly philosophical reasons, as the writer of the Seventh Letter explains: “There is no writing of mine about these [highest philosophical] matters, nor will there ever be one. Thus Gans’s model of language is consistent with the Derridean model of the sign as a creature both of difference and deferral: language makes present what is constitutively absent, and Gans points out that this absence is a renunciation of the material referent which generates the presence of a human recognition that the social bond takes precedence over the self-seeking of merely material survival. Hence, he, believed that art is twice removed from reality. Princeton: Princeton UP, 1999. The bed or the chair 251-278. It is precisely this intimate link between mimesis, desire, and social rivalry that led René Girard to the discovery of the centrality of the scapegoat mechanism in the development of social and cultural forms. He is placing a high importance on ‘verse-making’ by showing that a particular rhythm and speech pattern is the only difference between artists and scientists in regard to the way they present their respective works. It is THIS idea of the truth being pursued, rather than discovered, that characterizes Socratic thought and much of our “Western” philosophical thought today. Indianapolis: Hackett, 1997. I will then spend a section examining Aristotle’s differing views on mimesis and how it relates to catharsis. As a result, it is worthless and bad. Plato and Aristotle were two philosophers who made an impact on philosophy as we know it as today. DEPT OF EDUCATIONAL FOUNDATIONS (POLITICAL SCIENCE UNIT) However, he is deeply suspicious of the arts because, in his view, they appeal to the emotions rather than to the intellect (Michael). (235), 4.9 He believed there is a “perfect realm”, populated by entities otherwise known as “forms” or “ideas” that are eternal, changeless and in some sense related to the structure of our world. Rather than expunging the historicity of the deferral of violence, he embodies that historicity by means of the complex ostensivity of the dialogue form–a higher order ostensivity that encompasses the abstraction of the concept, but embeds it critically in the performative representation of the Socratic dialogue as a specifically literary/philosophical genre. He took lifelong pains to represent and to embody philosophical argumentation as an ongoing inquiry, one that does not harden itself in declarations of philosophical position taking, no matter how tirelessly 2400 years of Plato interpretation has insisted on trying to establish this. popular example of bed or the chair made by a carpenter. Terms. The critique of mimesis in the Republic begins in Books II and III as a critique of religion and the canonical role the poets have played as carriers of the Greek mythological tradition. Introduction Mimesis, as a controversial concept starting from the 15th century, is among the oldest terms in literature and artistic theory, and is certainly among the most fundamental.Developing centuries, the concept of mimesis has been explored and reinterpreted by scholars in various academic fields.