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.
Nicolae Babuts believes that the study of metaphoric thought and literature can be enriched by the application of recent discoveries from neuroscientific c experiments. He maintains that metaphors are neither linguistic formations nor conceptual formations, but instead the product of association of images and language. They are a matter of vision.Memory is an essential component in the creation of meaning and is the way the mind receives messages from the outside world. In this process of transferring data from the outside world, the mind's overriding tendency is to integrate and interpret. Thus, incoming messages are recognized and given meaning whether they are in harmony with the inner world of the mind or in confl ict with it.Babuts argues that the literature we read is related to our perception of reality. And reality has two identities: the physical identity of the outside world and its symbolic identity within memory. The symbolic identity of the outside world is represented internally by the metaphoric universe in the mind.
Mircea Eliade (1907–1986) was one of the twentieth century's foremost students of religion and cultural environments. This book examines the emergence, function, and value of religion and myth in his work.Nicolae Babuts, Robert Ellwood, Eric Ziolkowski, John Dadosky, Robert Segal, Mac Linscott Ricketts, Douglas Allen, and Liviu Borda examine Eliade's views on the interaction between the sacred and the profane. Each explores Eliade's phenomenological approach to the study of religion and myth. They show that modern rites of initiation, cultural activities, and spectacles like bullfighting, film, and, perhaps surprisingly, reading and writing, all harken back to the archetypal structures of the mythical imagination. Perhaps the greatest achievement of Eliade's phenomenological approach is that it reveals what we have in common with pre-Socratic man: the mind's structural capacity to endow objects and events with spiritual values and meanings.As a study of Eliade's concept of the mythic imagination, the book posits an analogy between the myths of the past and modern imitations. The authors suggest that in spite of their differences and their separate historical sources, myths represent basic structures of human consciousness. This book is essential reading for all students of religion, philosophy, and literature.
In his poetry and critical writings, Baudelaire performs a vast fusion of experiential and literary sources, explores in a more resolute manner the domain of correspondences, and, thereby, marks a radical departure from the accepted norms. He challenges, humbles, and then reaffirms and recenters Western tradition. That is his finest achievement.
Literature explores the human condition, the mystery of the world, life and death, as well as our relations with others, and our desires and dreams. It differs from science in its aims and methods, but Babuts shows in other respects that literature has much common ground with science. Both aim for an authentic version of truth. To this end, literature employs metaphors, and it does so in a manner similar to that of scientific inquiry.The cognitive view does not imply that there is a one-to-one correlation between the world and text, that meaning belongs to the author, or that literature is equivalent to perception. What it does maintain is that meaning is crucially dependent on mnemonic initiatives and that without memory, the world remains meaningless. Nicolae Babuts claims that at the interface with the printed page, readers process texts in a manner similar to the way they explain the visible world: in segments or units of meaning or dynamic patterns.Babuts argues that humans achieve recognition by integrating stimulus sequences with corresponding patterns that recognize and interpret each segment of a text. Memory produces meaning from these patterns. In harmony with its goals, memory may adopt specific strategies to deal with different stimuli. Dynamic patterns link the unit of processing with the unit of meaning. In sum, Babuts proposes that meaning is achieved through metaphors and narrative, and that both are ways to reach cognitive goals. This original study offers perspectives that will interest cognitive psychologists, as well as those simply interested in the process through which literature stirs the human imagination.
Nicolae Babuts believes that the study of metaphoric thought and literature can be enriched by the application of recent discoveries from neuroscientific c experiments. He maintains that metaphors are neither linguistic formations nor conceptual formations, but instead the product of association of images and language. They are a matter of vision.Memory is an essential component in the creation of meaning and is the way the mind receives messages from the outside world. In this process of transferring data from the outside world, the mind's overriding tendency is to integrate and interpret. Thus, incoming messages are recognized and given meaning whether they are in harmony with the inner world of the mind or in confl ict with it.Babuts argues that the literature we read is related to our perception of reality. And reality has two identities: the physical identity of the outside world and its symbolic identity within memory. The symbolic identity of the outside world is represented internally by the metaphoric universe in the mind.
The Dynamics of the Metaphoric Field begins with the premise that the way we can make some progress toward agreement in literary theory is to examine how we know what we know. To this effect Nicolae Babuts undertakes to understand the workings of memory and to define the fundamental principles that guide it in its drive to meaning. The study establishes that we process reality and texts in quanta of energy, in terms of dynamic patterns that are the units of meaning. On the perceptual level, these patterns represent visual, auditory, or other sensory organizations, a kind of perceptual syntax of the world; on the textual level, they represent building blocks that are used in the writer's creation and the reader's re-creation of texts. In this view meaning is a consequence of the convergence of linguistic patterns and the syntax of perceptual events. The fact that evidence for the existence of dynamic patterns comes from various disciplines underscores the interrelatedness of cognitive sciences and literature and encourages us to believe that we are on the right track." "The study of memory and of textual dynamic patterns establishes certain fundamental concepts that are now defined not just in their theoretical modality but also in the act of performing their primary function. The disagreement about the role of reality in the creation and recreation of texts is traced to a blurring of the distinction between its material and symbolic identities and to an antiquated view of the "referent."" "In the cognitive light the referential reality splits into two components: its material identity or things in themselves, which we cannot know, and its symbolic or coded identity, with which we deal through our senses and memory. The crucial difference between approaches with formalist tendencies and the cognitive view is that in the latter the textual language and patterns have a strategic correspondence to the symbolic face of the real. Other consequences follow." "In reading, memory re-creates the metaphoric field--the dynamic patterns and the original tension--of a text in a reserved space. The reader's entry into the field recalls the paradox of the circle of understanding, but the dilemma is now stripped of its speculative aura and defined in terms of memory's ability to contact and activate appropriate potentials. Under these circumstances, the beginning of the text regains its power to communicate foreknowledge. The entry into the field becomes a re-creation but also a spiritual anticipation, a leap unto a higher level of suspense. Mnemonic--that is to say, human--values retake their place in the equation of meaning. Above all, the study indicates that the space where meaning is produced and recognized as such is the space of human consciousness."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
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.
In his poetry and critical writings, Baudelaire performs a vast fusion of experiential and literary sources, explores in a more resolute manner the domain of correspondences, and, thereby, marks a radical departure from the accepted norms. He challenges, humbles, and then reaffirms and recenters Western tradition. That is his finest achievement.
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