Mimesis has been addressed frequently in terms of literary or
visual representation, in which the work of art mirrors, or fails
to mirror, life. Most often, mimesis has been critiqued as a simple
attempt to bridge the distance between reality and its
representations. In Trauma and Its Representations: The Social Life
of Mimesis in Post-Revolutionary France, Deborah Jenson argues
instead that mimesis not only denotes the representation of reality
but is also a crucial concept for understanding the production of
social meaning within specific historical contexts. Examining the
idea of mimesis in the French Revolution and post-Revolutionary
Romanticism, Jenson builds on recent work in trauma studies to
develop her own notion of traumatic mimesis. Through innovative
readings of museum catalogs, the writings of Benjamin Constant, the
novels of George Sand and Gustave Flaubert, and other works, Jenson
demonstrates how mimesis functions as a form of symbolic wounding
in French Romanticism.
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