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Chargement... Mimesis in a Cognitive Perspective: Mallarme, Flaubert, and Eminescupar Nicolae Babuts
Aucun mot-clé Aucun Actuellement, il n'y a pas de discussions au sujet de ce livre.  ClaudiaMoscovici | Jul 26, 2011 |  aucune critique | ajouter une critique
Mimesis is a critical and philosophical term going back to Aristotle. It carries a wide range of meanings, including imitation, representation, mimicry, the act of expression, and the presentation of self. In modern literary criticism, mimesis has received renewed attention in the last two or three decades and been subject to wide-ranging interpretations. Nicolae Babuts looks at the concept of mimesis from a cognitive perspective. He identifies two main strands: the mimetic relation of art and poetry to the world, defined in terms of reference to an external reality, and the importance of memory in the making of plots or storytelling. Babuts suggests that there is a material identity we cannot know beyond the limits of our senses and intellect and a symbolic or coded identity that is processed by memory. All writers, including Mallarme in his esoteric poetry, Flaubert in his realist narratives, and Mihai Eminescu, the Romanian poet, in his romantic poems, rely on mimetic strategies to link the two identities: the images in memory to the outside reality. All order their narratives in accordance with the dynamics of memory. Babuts describes this phenomenon with great insight, showing how new traditions are formed. Aucune description trouvée dans une bibliothèque |
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 Google Books — Chargement...GenresClassification décimale de Melvil (CDD)840.9Literature French and related languages French literature History, descriptionClassification de la Bibliothèque du CongrèsÉvaluationMoyenne: (5)
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nineteeth-century fiction and theory, then "Mimesis in a Cognitive
Perspective: Mallarmé, Flaubert, and Eminescu" is the book for you.
Professor Nicolae Babuts examines these authors through the prism of
mimesis, or theories that look at literature as a form of imitation of
reality, ranging from Plato's to Derrida's. Although alluding to the
most popular literary theories, Babuts's analyses also reveal critical
thinking and independence. As the author states, "it is hard to read
outside of one's field... As a consequence we may not even realize how
much our ideas and style are modulated, even determined, by the texts
we have read. Yet, if we believe that new initiatives and originality
are desirable, we should make a great effort of the will to free
ourselves from the need to belong to a club and lose our freedom" (xi).
Being a fellow Romanian, my favorite analysis in this book is that of
the Romantic poem "Luceafarul" ("North Star"), by the great Romanian
poet, Mihai Eminescu. This analysis is found in Chapter 10, entitled
"Eminescu and the Romantic Transfiguration". While Flaubert and
Mallarmé receive plenty of critical attention, Eminescu is one of the
intellectual and poetic giants (or geniuses, if you prefer) of the
Romantic movement that is--because so few people who aren't Romanian
can read Romanian and because poetry is so difficult to
translate--vastly underrated. Eminescu was a Romantic poet, novelist
and journalist. As Babuts' analysis illustrates, his poems have
philosophical resonance: which is no accident, since Eminescu's work is
very much influenced by the German philosopher Arthur Schopenhauer. As
pessimistic as some of his poems may be, Babuts reveals the positive
dimensions of "Luceafarul" in its reflections about love (between
Catalina and Catalin), sensuality and the possibility of transcendence.
Babuts concludes that "the love of Catalina and Catalin reaches a
higher value in the beauty of their feelings, thoughts and language"
(157). This book is a pleasure to read for any lover of the Romantic
movement in literature and poetry.
Claudia Moscovici, literaturesalon (