The Divine Mimesis

What role did Dante play in the work of Pier Paolo Pasolini (1922-1975)? His unfinished and fragmented imitation of the Comedia, La Divina Mimesis, is only one outward sign of what was a sustained dialogue with Dante on representation begun in the early 1950s. During this period, the philologists Gianfranco Contini (1912-1990) and Erich Auerbach (1892-1957) played a crucial role in Pasolini’s re-thinking of ‘represented reality’, suggesting Dante as the best literary, authorial and political model for a generation of postwar Italian writers. This emerged first as ‘Dantean realism’ in Pasolini’s prose and poetry, after Contini’s interpretation of Dante and of his plurilingualism, and then as ‘figural realism’ in his cinema, after Auerbach’s concepts of Dante’s figura and ‘mingling of styles’. Following the evolution of Pasolini’s mimetic ideal from these formative influences through to La Divina Mimesis, Emanuela Patti explores Pasolini’s politics of representation in relation to the ‘national-popular’, the ‘questione della lingua’ and the Italian post-war debates on neorealism, while also providing a new interpretation of some of his major literary and cinematic works.

Mimesis is a fundamental and pervasive human concept, but has attracted little attention from Johannine scholarship. This is unsurprising, since Johannine ethics, of which mimesis is a part, has only recently become a fruitful area of research. Bennema contends that scholars have not yet identified the centre of Johannine ethics, admittedly due to the fact that mimesis is not immediately evident in the Johannine text because the usual terminology for mimesis is missing. This volume is the first organized study on the concept of mimesis in the Johannine literature. The aim of the study is to establish that mimesis is a genuine Johannine concept, to explain its particulars and to show that mimesis is integral to Johannine ethics. Bennema argues that Johannine mimesis is a cognitive, creative process that shapes the believer's identity and behaviour within the context of the divine family. Besides being instrumental in people's moral transformation, mimesis is also a vital mechanism for mediating the divine reality to people

"Mimesis is a fundamental and pervasive human concept, but has attracted little attention from Johannine scholarship. This is unsurprising, since Johannine ethics, of which mimesis is a part, has only recently become a fruitful area of research. Bennema contends that scholars have not yet identified the centre of Johannine ethics, admittedly due to the fact that mimesis is not immediately evident in the Johannine text because the usual terminology for mimesis is missing. This volume is the first organized study on the concept of mimesis in the Johannine literature. The aim of the study is to establish that mimesis is a genuine Johannine concept, to explain its particulars and to show that mimesis is integral to Johannine ethics. Bennema argues that Johannine mimesis is a cognitive, creative process that shapes the believer's identity and behaviour within the context of the divine family. Besides being instrumental in people's moral transformation, mimesis is also a vital mechanism for mediating the divine reality to people."--! From publisher's description.

Complicating the standard interpretation of Habermas as a proceduralist, Mimesis and Reason uncovers the role that mimesis, or imitation, plays as a genuinely political force in communicative action. Through a penetrating examination of Habermas's use of themes and concepts from Plato, George Herbert Mead, and Walter Benjamin, Gregg Daniel Miller reconstructs Habermas's theory to reveal a new, postmetaphysical articulation of reason that lays the groundwork for new directions in political theory.

We do not have many definitions of Christianity from late antiquity, but among the few extant is the brief statement of Gregory of Nyssa (335-395 CE) that it is "mimesis of the divine nature." The sentence is both a historical gem and theologically puzzling. Gregory was the first Christian to make the infinity of God central to his theological program, but how could he intend for humans to imitate the infinite? If the aim of the Christian life is "never to stop growing towards what is better and never to place any limit on perfection," how could mimesis function within this endless pursuit? In Imitations of Infinity, Michael A. Motia situates Gregory among Platonist philosophers, rhetorical teachers, and early Christian leaders to demonstrate how much of late ancient life was governed by notions of imitation. Questions both intimate and immense, of education, childcare, or cosmology, all found form in a relationship of archetype and image. It is no wonder that these debates demanded the attention of people at every level of the Roman Empire, including the Christians looking to form new social habits and norms. Whatever else the late ancient transformation of the empire affected, it changed the names, spaces, and characters that filled the imagination and common sense of its citizens, and it changed how they thought of their imitations. Like religion, imitation was a way to organize the world and a way to reach toward new possibilities, Motia argues, and two earlier conceptions of mimesis—one centering on ontological participation, the other on aesthetic representation—merged in late antiquity. As philosophers and religious leaders pondered how linking oneself to reality depended on practices of representation, their theoretical debates accompanied practical concerns about what kinds of objects would best guide practitioners toward the divine. Motia places Gregory within a broader landscape of figures who retheorized the role of mimesis in search of perfection. No longer was imitation a marker of inauthenticity or immaturity. Mimesis became a way of life.