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The Aesthetics of Mimesis: Ancient Texts and Modern Problems PDF

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The Aesthetics of Mimesis R This page intentionally left blank The Aesthetics of Mimesis R A T NCIENT EXTS M P AND ODERN ROBLEMS Stephen Halliwell PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD Copyright©2002byPrincetonUniversityPress PublishedbyPrincetonUniversityPress,41WilliamStreet, Princeton,NewJersey08540 IntheUnitedKingdom:PrincetonUniversityPress, 3MarketPlace,Woodstock,OxfordshireOX201SY AllRightsReserved LibraryofCongressCataloging-in-PublicationData Halliwell,Stephen. Theaestheticsofmimesis:ancienttexts&modernproblems/StephenHalliwell. p.cm. Includesbibliographicalreferencesandindex. ISBN0-691-04882-7(alk.paper)—ISBN0-691-09258-3(pbk.:alk.paper) 1.Aesthetics—History.2.Mimesisinart.I.Title. BH81.H352002 111'.85—dc21 2001056023 ThisbookhasbeencomposedinGaramondLight Printedonacid-freepaper.∞ www.pup.princeton.edu PrintedintheUnitedStatesofAmerica 1 3 5 7 9 10 8 6 4 2 Contents R Preface vii Acknowledgments xi NotetotheReader xiii INTRODUCTION:MimesisandtheHistoryofAesthetics 1 PARTI CHAPTERONE RepresentationandReality:PlatoandMimesis 37 CHAPTERTWO RomanticPuritanism:PlatoandthePsychologyofMimesis 72 CHAPTERTHREE MimesisandtheBestLife:Plato’sRepudiationoftheTragic 98 CHAPTERFOUR MoreThanMeetstheEye:LookingintoPlato’sMirror 118 PARTII CHAPTERFIVE InsideandOutsidetheWorkofArt:AristotelianMimesis Reevaluated 151 CHAPTERSIX TheRewardsofMimesis:Pleasure,Understanding,andEmotion inAristotle’sAesthetics 177 CHAPTERSEVEN TragicPity:AristotleandBeyond 207 CHAPTEREIGHT MusicandtheLimitsofMimesis:AristotleversusPhilodemus 234 PARTIII CHAPTERNINE TruthorDelusion?TheMimeticistLegacyinHellenistic Philosophy 263 CHAPTERTEN ImagesofLife:MimesisandLiteraryCriticismafterAristotle 287 CHAPTERELEVEN RenewalandTransformation:NeoplatonismandMimesis 313 CHAPTERTWELVE AnInheritanceContested:RenaissancetoModernity 344 Bibliography 383 Index 419 This page intentionally left blank Preface THECONCEPTOFMIMESIS lies at the core of the entire history of Western at- temptstomakesenseofrepresentationalartanditsvalues.Thisbooksets itself a pair of aims: first, to undertake a searching reexamination of the ancient roots of that history,from the formative approaches of Plato and Aristotle to the innovative treatment of mimesis by the Neoplatonists of late antiquity; second (and not only in my final chapter), to engage with andelucidatethecomplexlegacybestowedonaestheticsfromtheRenais- sancetothetwentiethcenturybymimeticistwaysofthinking. Myconcernthroughoutiswithphilosophicaltheoriesandcriticalmod- els of mimesis. It would be a very different task, of which Auerbach’s bookMimesisremainsthemostfamousexemplar,toinvestigatethespe- cifickindsofartisticpracticethatvariousversionsofmimesismightclaim to explain or justify. Significantly for my purposes, Auerbach himself barely touched on the theory of mimesis. In particular, he had almost nothingtosayabouttheroleofmimesisinthephilosophiesofPlatoand Aristotle, or about the recurrent influences, direct and indirect, positive and negative, that Platonic and Aristotelian paradigms of mimesis exer- cisedonlaterthinkers.Itisarelief,needlesstosay,nottobeincompeti- tionwithAuerbach. Inmorerecenttimes,astheextentofmy(nonethelessselective)bibliog- raphytestifies,amassofworkhasappearedonvariousfacetsofthewhole phenomenon of mimeticism in aesthetics, as well as on other, partially related concepts of mimesis in psychology, anthropology, and beyond. My own book, however, offers the fullest reassessment yet attempted, I believe, of the ancient foundations of mimetic theories of art, and in the process it claims to correct and replace numerous misconceptions about notonlythematerialsofthosefoundationsbutalsothelateredificesthat havebeenerected(orsuperimposed)onthem. Thebookrepresentstheculminationofmanyyears’worthofthinking about Plato, Aristotle, and their importance for a revised history of aes- thetics. The kind of history I have in mind, and to which this book is intendedtomakeacontribution,isonethatlooksbackbeyondthecrucial butinsomewaysphilosophicallynarrowdevelopmentsoftheeighteenth century (when, in a nutshell, “aesthetics” was named and baptized with anidentitysorestrictedastoimperilitsconnectionwith,andimportance for,therestoflife),aswellasbeyondthediverseformsofantirepresenta- tionalism thrown up by the twentieth century. It thereby endeavors to rediscover a structure of ideas at whose center lies a sense of the vital, mutuallyenrichingbondsbetweenrepresentationalartandhumanexpe- rienceatlarge. viii PREFACE Mimesis is not only indispensable for any understanding of ancient views of representation in the verbal, visual, and musical arts; it is also essential, I maintain, for the entire history of aesthetics, including the in- ventionofaestheticsso-calledintheeighteenthcenturyitself.Thismeans thatthebookhasatwo-wayperspective:itlooksatantiquityfromaview- pointconsciousofthelaterdevelopmentsofmimetictheory;anditseeks to reinterpret certain features of those developments with a better in- formedawarenessofthecomplexityofancientideasthanistobefound inmostoftheexistingliteratureonthesubject.Theambitionistoomuch, itgoeswithoutsaying,foronepersonoronebook.ButIhope,intheterms of Blake’s arresting proverb, I have driven my cart and plow sufficiently vigorouslyoverthebonesofthedeadtostimulateandprovokethosewho may be able to modify or improve on parts of my argument. Because I dealwithaveryconsiderableanddiverseamountofmaterial,andadvance amany-sidedthesis,Ihavegiveninthelastsectionofmyintroductiona relatively full summary of my ideas: I hope this will assist readers with a marked interest in particular chapters to orientate themselves in relation tomyenterpriseasawhole. The groundwork of this project was laid by my books on Aristotle’s Poeticsin1986–87,andmycommentaryonPlatoRepublic10in1988(see thebibliographyforfulldetailsofallpublicationsmentioned).Istartedto exploresomeofthewiderimplicationsofmyviewsinanarticleon“The ImportanceofPlatoandAristotleforAesthetics”(Halliwell1991a),which wasgivenasapapertotheBostonAreaColloquiuminAncientPhilosophy and as a Mellon Fresh lecture in Aesthetics at Brown University in April 1989.ForthatandsubsequentinvitationstoBrown,Iamextremelygrate- fultoMarthaNussbaum,who,inadditiontothestimulusofherownout- standingwritings,hasoftendiscussedmyworkwithmeandhaslentcru- cial intellectual encouragement over the past decade and more. I am deeply indebted to her in many respects. Earlier statements of ideas that have found their way into this book, often in greatly transmuted form, werepresentedaslecturesandseminars,overmanyyears(andmorethan onceinseveraloftheselocations),inBergen,Cambridge,Chicago,Edin- burgh, Harvard, Helsinki, Leeds, London, Los Angeles, Munich, Notting- ham,Oslo,Oxford,Paris,Pittsburgh,Princeton,Providence(BrownUni- versity), Reno, Riverside, Rome, Tu¨bingen, and Zurich. One of these invitations now arouses mixed emotions in me: Gianni Carchia was re- sponsible for inviting me to Rome to give four Italian lectures in April 1998;Irememberhiskindnesswithaffection,buthisprematuredeathin February 2000, when I was in the later stages of this project, caused me greatsadness. For the other invitations I have mentioned, for the dialectic that took placeonthoseoccasions,aswellasforresponsestomyworkinavariety PREFACE ix of other contexts, I owe thanks to a very large number of friends and colleaguesindifferentpartsoftheworld.Tolistsomeofthemmayseem a mechanical act, but I hope they will all appreciate that my gratitude to them—for invitingme, arguingwith me,or assistingme inother ways— isanythingbutperfunctory.Theyare:DeborahAchtenberg,MegAlexiou, ØivindAndersen,JuliaAnnas,ElizabethAsmis,DavidBlank,LucBrisson, Thomas Buchheim, Myles Burnyeat, Terence Cave, Sir Kenneth Dover, MoniqueDixsaut,DorotheaFrede,SimonGoldhill,AdrianGratwick,Jon Haarberg,MalcolmHeath,HarryHine,OttfriedHo¨ffe,JohannesHu¨bner, JohnHyman,ChristopherJanaway,DanielJavitch,IanKidd,DavidKons- tan,IsmeneLada-Richards,JonathanLear,BerndMagnus,PennyMurray, GregoryNagy,AlexanderNehamas,AnthonyPrice,ChristofRapp,Ame´lie Rorty, Christopher Rowe, Dory Scaltsas, Heda Segvic, Juha Sihvola, Mi- chaelSilk,MaeSmethurst,RichardSorabji,RobertWallace,JohnWilkins, BernardWilliams,PeterWoodward,andBernhardZimmermann. IwasgivenhelpinobtainingcopiesofrelevantpublicationsbyDaniel Delattre(who generouslyshowed mepartsof hisimportant newedition of Philodemus De Musica in advance of publication), Daniele Guastini, FernandoBollino,BabettePu¨tz, andRichardRutherford.Princeton’stwo readers,CynthiaFreelandandPaulWoodruff,gavemeconstructivecriti- cismsandhelpfulsuggestionsthatmadeiteasierformetoimproveparts of the book. I am also happy to acknowledge a Research Leave Award fromtheArtsandHumanitiesResearchBoardfortheautumnsemesterof 1999,whichgreatlyfacilitatedcompletionandrevisionoftheproject. Finally,Imustthankmyfamilyforcontinuingtoendurelivingwithme. My younger son, Edmund, has argued with me endlessly (about every- thing,includingmattersrelatedtothisbook)andhassharedmorelaughter withme(someofitmimeticallyincited)thananyoneelse;myolderson, Luke,hasprovidedexperttechnicaladviceandhelpwithcomputers;and mywife,Ruth,hasgivenloveandsupportthatexceedmyentitlementsto anembarrassingdegree.

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Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philos
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