1640–50; < Greek mī́mēsis imitation, equivalent to mīmē- (variant stem of mīmeîsthai to copy) + -sis -sis
Based on the Random House Dictionary, © Random House, Inc. 2012.
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| a printed punctuation mark (‽), available only in some typefaces, designed to combine the question mark (?) and the exclamation point (!), indicating a mixture of query and interjection, as after a rhetorical question. |
| a children's mummer's parade, as on the Fourth of July, with prizes for the best costumes. |
- But the mimesis is perhaps less in them than in our seeing of them.
- Autistic children have difficulty with mimesis and imaginative play.
- There is no attempt to depict three dimensionality or any kind of real-world mimesis.
| mimesis (mɪˈmiːsɪs) | |
| —n | |
| 1. | art, literature the imitative representation of nature or human behaviour |
| 2. | a. any disease that shows symptoms of another disease |
| b. a condition in a hysterical patient that mimics an organic disease | |
| 3. | biology another name for mimicry |
| 4. | rhetoric representation of another person's alleged words in a speech |
| [C16: from Greek, from mimeisthai to imitate] | |
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mimesis
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mimesis mi·me·sis (mĭ-mē'sĭs, mī-)
n.
The appearance of symptoms of a disease not actually present, often caused by hysteria.
Symptomatic imitation of one organic disease by another.
Copyright © 2002, 2001, 1995 by Houghton Mifflin Company. Published by Houghton Mifflin Company.
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mimesis
basic theoretical principle in the creation of art. The word is Greek and means "imitation" (though in the sense of "re-presentation" rather than of "copying"). Plato and Aristotle spoke of mimesis as the re-presentation of nature. According to Plato, all artistic creation is a form of imitation: that which really exists (in the "world of ideas") is a type created by God; the concrete things man perceives in his existence are shadowy representations of this ideal type. Therefore, the painter, the tragedian, and the musician are imitators of an imitation, twice removed from the truth. Aristotle, speaking of tragedy, stressed the point that it was an "imitation of an action"-that of a man falling from a higher to a lower estate. Shakespeare, in Hamlet's speech to the actors, referred to the purpose of playing as being " . . . to hold, as 'twere, the mirror up to nature." Thus, an artist, by skillfully selecting and presenting his material, may purposefully seek to "imitate" the action of life.
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