La investigación que sigue aborda el problema del modelo y su lugar en la producción artística moderna. Se localiza, particularmente, en el momento en que la pintura se hace partícipe de la crítica de la representación y su relación con el mundo visible se vuelve marcadamente problemática. Esto es, fines del siglo XIX y principios del XX. Esta tesis toma por motivo un momento crucial en ese contexto histórico como es la obra de Cézanne y la lectura interpretativa de la misma a la luz del problema del modelo. En este sentido lo que pone a operar es la noción de modelo y su rol, tanto en la producción pictórica de Cézanne, como en las interpretaciones que la toman como referente para producir a su vez un modelo de comprensión de la pintura moderna, que se habría desarrollado a partir de las fórmulas cezanneanas.

This dissertation explores the emergence of figuration in prehistoric China. It approaches the topic by focusing on image-makers’ engagement with the materials they used to fashion figural works. Chapter 1 presents a survey of zoomorphic and anthropomorphic images created from the Epipaleolithic through the Neolithic periods. It highlights a multiplicity of forms, materials and representational approaches while uncovering recurring patterns. Chapter 2 introduces the principal theories scholars have applied to discuss this corpus, and draws out their similarity with paradigms used in Western scholarship on prehistoric art. The discussion further draws attention to a bi-directional influence exerted on the reception of prehistoric imagery in Europe and China. Chapter 3 focuses on images produced prior to or around 5,000 BCE, and repositions their emergence in the context of broader interests in materiality and representation. The analysis uncovers trends and explores circumstances that notably led image-makers separated in time and space to represent human heads as flat entities. Chapter 4 investigates the role of pareidolia in the emergence of images. It reveals that perceptive imagination informed the creation of some works, when craftspeople drew inspiration from forms in raw materials or artifacts. Chapter 5 explores the possibility that image-makers sought to achieve material-representation synergies. The discussion presents a new taxonomic model addressing materiality and the sensory channels through which figurative images are perceived, and it describes how these factors possibly constituted a core aspect of mimesis. The analysis proposes that some image-makers employed both visual and tactile qualities of substances to represent animals and human beings.

The main topic of the thesis is the temporal dimension of aesthetic experience in its relation to memory and imagination. The initial approach to the topic is the concept of relationship between time and narrative of Paul Ricoeur, primarily contained in his three volume book entitled Time and Narrative. Gradually, the specificity of the time experience will be investigated, as well as operations of memory and imagination in narrative fiction. Attention is focused on a narrative as means to designate a coherent whole, respectively a meaningful concatenation of events. The main relationship explored is the interaction between the world of work and the lived world. The functionality of theoretical views is presented on the work of French director Chris Marker, especially on his two films La Jetée (1962) and Sans Soleil (1982).

For centuries we have taken for granted Aristotle's assertion that fiction must encourage emotional identification by representing life realistically. With the development of a more pluralistic society, Postmodernist writiers have come to question that assumption. Having repudiated our ancestor's notions of identity, these writers create stories whose sole purpose is to comment on other stories. However, as some feminist critics have shown us, we must each have an identity in order to have the collaborative society that is the Postmodernist's goal. Therefore, the notion that a story must make a sensory impression on us and stand on its own as a story in itself is just as valid today as it was in the past.

Plato criticizes poetry in several of his dialogues, beginning with Apology, his first work, and ending with Laws, his last. In these dialogues, his criticism of poetry can be divided into two streams: poetry is criticized for either being divinely inspired, or because it is mimetic or imitative of reality. However, of the dialogues which criticize poetry in these ways, it is not until Laws that Plato mentions both inspiration and mimesis together, and then it is only in a few sentences. Furthermore, nowhere in the dialogues does Plato discuss their relationship. This situation has a parallel in the secondary literature. While much work has been done on inspiration or mimesis in Plato’s criticism of poetry, very little work exists which discusses the connection between them. This study examines Plato’s treatment - in the six relevant dialogues - of these two poetic elements, inspiration and mimesis, and shows that a relationship exists between them. Both can be seen to relate to two important Socratic-Platonic concerns: the care of the soul and the welfare of the state. These concerns represent a synthesis of Socratic moral philosophy with Platonic political beliefs. In the ‘inspiration’ dialogues, Ion, Apology, Meno, Phaedrus and Laws, poetic inspiration can affect the Socratic exhortation which considers the care of the individual soul. Further, as we are told in Apology, Crito and Gorgias, it is the good man, the virtuous man - the one who cares for his soul - who also cares for the welfare of the state. Therefore, in its effect on the individual soul, poetic inspiration can also indirectly affect the state. In the ‘mimesis’ dialogues, Republic and Laws, this same exhortation, on the care of the soul, is posed, but it is has now been rendered into a more Platonic form - as either the principle of specialization - the ‘one man, one job’ creed of Republic, which advances the harmony between the three elements of the soul, or as the concord between reason and emotion in Laws. While in Republic, mimesis can damage the tripartite soul's delicate balance, in Laws, mimesis in poetry is used to promote the concord. Further, in both these dialogues, poetic mimesis can affect the welfare of the state. In Republic, Socrates notes that states arc but a product of the individuals of which they are composed Therefore, by affecting the harmony of the individual soul, mimesis can then undermine the harmony of the state, and an imperfect political system, such as a timarchy, an oligarchy, a democracy, or a tyranny, can result. However, in Laws, when it is harnessed by the philosophical lawgivers, mimesis can assist in the concord between the rulers and the ruled, thus serving the welfare of the state. Inspiration and mimesis can thus be seen to be related in their effect on the education of both the individual, in the care of the soul, and the state, in its welfare. Plato's criticism of poetry, therefore, which is centred on these two features, addresses common Platonic concerns: in education, politics, ethics, epistemology and psychology.

<p>Syftet med uppsatsen har varit att synligöra verklighetsåtergivningen i Ørstaviks<em> Kjærlighet</em> i ett försök att närma sig och förstå den kvinnliga protagonistens tillvaro. Analysen har främst utgått från Erich Auerbachs (<em>Mimesis) </em>och Birgitta Holms (<em>Tusen år av ögonblick)</em> systematiska arbetssätt, där Auerbachs metod har styrt angreppssättet och där Holms perspektiv på den kvinnliga tillvaron lagts till. Två specifika textavsnitt valdes ut för att utifrån ett mikroperspektiv lyfta den kvinnliga tillvaron till ett makroperspektiv. Huvudargumentet har varit att visa att en verklighetsframställning av den kvinnliga tillvaron är möjlig genom litteraturen. Liksom andra perspektiv såsom till exempel det postkoloniala och det feministiska kan även Auerbachs metod att tolka verklighetsåtergivningen i litterära texter, ge oss en möjlig bild av människans, och i det här fallet även specifikt kvinnans tillvaro. I Ørstaviks roman har man kunnat tydliggöra flertalet av de kriterier som enligt Auerbach bidrar till en realistisk presentation i verket och på så sätt kan man synliggöra och därmed också tolka en verklighet utifrån texten. I analysen har det också framkommit vad som specifikt utmärker Ørstaviks sätt att genom sitt arbete med språket och texten närma sig verkligheten. I båda texterna kan man till exempel se hur hon arbetar med en konkret ögonblickssituation där hon låter alla skikt få träda fram såsom i ”verkligheten” med rummet och dess inredning, karaktärernas blick, tal och tankar. Men vad som kanske framförallt ska ses som unikt för Ørstaviks sätt att skriva är hur hon fångar en verklighet i sitt sätt att synligöra protagonistens inre och yttre språk och med det visa att det är i relationen däremellan som vi får tillgång till hennes tillvaro som modern, västerländsk kvinna.</p>

Who tells the true story of the world? The western civilisation is highly influenced by the written word. The writings of ancient philosophers, poets and religious authorities still have a strong cultural impact. Myths and religion as well as philosophical and political systems effects our self-concept. These models are all unified by there ambition to explain mankind and tell the story of reality. This essay examines two published diaries in order to discuss their relation to the common story of the world. The objects of the study are Feberboken, by Stina Aronson (written in 1934) and Allt, by Martina Lowden (written in 2006). The diary is a place for the personal story, it gives the writer an opportunity to confront the surrounding world. The conventional conception of reality can be questioned. I will use Pierre Bourdieus theory about the biographic I to discuss the Self in the texts. Two definitions of mimesis will be treated. The traditional meaning of the term, given by Plato, and the postmodern point of view, represented by Gilles Deleuze. I aim to investigate how Feberboken and Allt are confronting the generic image of reality.

This essay tries to investigate the possibility to reconstruct the concept of mimesis in Martin Heidegger’s hermeneutical phenomenology in Sein und Zeit. Paul Ricoeur’s interpretation of the concept of mimesis in Aristotle’s Poetics, develops a new temporal understanding of the mimetic activity, which Ricoeur in his work Time and Narrative, claims to have the possibility to overcome the aporias in the phenomenology of time. With this criticism as the background context for the present study, seeks this essay to pick up Ricoeur’s new conception of mimesis, and use that in a comparative philosophical reflection on the basic concepts in Heidegger’s Sein und Zeit. The main thesis in this essay is that Ricoeur’s concept of mimesis can be rethought and reconstructed as a possibility within Heidegger’s thinking.

Syftet med uppsatsen har varit att synligöra verklighetsåtergivningen i Ørstaviks Kjærlighet i ett försök att närma sig och förstå den kvinnliga protagonistens tillvaro. Analysen har främst utgått från Erich Auerbachs (Mimesis) och Birgitta Holms (Tusen år av ögonblick) systematiska arbetssätt, där Auerbachs metod har styrt angreppssättet och där Holms perspektiv på den kvinnliga tillvaron lagts till. Två specifika textavsnitt valdes ut för att utifrån ett mikroperspektiv lyfta den kvinnliga tillvaron till ett makroperspektiv. Huvudargumentet har varit att visa att en verklighetsframställning av den kvinnliga tillvaron är möjlig genom litteraturen. Liksom andra perspektiv såsom till exempel det postkoloniala och det feministiska kan även Auerbachs metod att tolka verklighetsåtergivningen i litterära texter, ge oss en möjlig bild av människans, och i det här fallet även specifikt kvinnans tillvaro. I Ørstaviks roman har man kunnat tydliggöra flertalet av de kriterier som enligt Auerbach bidrar till en realistisk presentation i verket och på så sätt kan man synliggöra och därmed också tolka en verklighet utifrån texten. I analysen har det också framkommit vad som specifikt utmärker Ørstaviks sätt att genom sitt arbete med språket och texten närma sig verkligheten. I båda texterna kan man till exempel se hur hon arbetar med en konkret ögonblickssituation där hon låter alla skikt få träda fram såsom i ”verkligheten” med rummet och dess inredning, karaktärernas blick, tal och tankar. Men vad som kanske framförallt ska ses som unikt för Ørstaviks sätt att skriva är hur hon fångar en verklighet i sitt sätt att synligöra protagonistens inre och yttre språk och med det visa att det är i relationen däremellan som vi får tillgång till hennes tillvaro som modern, västerländsk kvinna.

This thesis consists of a portfolio of nine musical compositions with accompanying recordings and commentary. The works included range from solo chamber music to large ensemble and explore the notions of mimesis, memory, and borrowed materials in musical composition. The commentary begins by providing a framework and historical context to the portfolio and in particular explores mimesis as an æsthetic device across the centuries and art forms. Music for amateurs and multiple tempi are then presented as two sub facets within the main research before a detailed exploration of the various source materials ensues. The commentary examines different approaches taken to an eclectic mix of source materials including popular music, hymns and plainchant, and music from the classical canon. Questions raised by writing music with multiple tempi or for amateurs are addressed before a general conclusion examining approaches to melody, harmony, rhythm, and form, across the portfolio.