In Romantic theories of art and literature, the notion of
mimesis--defined as art's reflection of the external world--became
introspective and self-reflexive as poets and artists sought to
represent the act of creativity itself. Frederick Burwick seeks to
elucidate this Romantic aesthetic, first by offering an
understanding of key Romantic mimetic concepts and then by
analyzing manifestations of the mimetic process in literary works
of the period.
Burwick explores the mimetic concepts of "art for art's sake,"
"Idem et Alter," and "palingenesis of mind as art" by drawing on
the theories of Philo of Alexandria, Aristotle, Immanuel Kant,
Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas
De Quincey, and Germaine de Stael. Having established the
philosophical bases of these key mimetic concepts, Burwick analyzes
manifestations of mimesis in the literature of the period,
including ekphrasis in the work of Thomas De Quincey, mirrored
images in the poems of Samuel Taylor Coleridge and William
Wordsworth, and the twice-told tale in the novels of Charles
Brockden Brown, E. T. A. Hoffmann, and James Hogg. Although artists
of this period have traditionally been dismissed in discussions of
mimesis, Burwick demonstrates that mimetic concepts comprised a
major component of the Romantic aesthetic.
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