Mimesis: The Representation of Reality in Western Literature

Sharrock, Roger; Auerbach, Erich; Trask, Willard R.

doi:10.2307/3718763

Cited by 268 publications

(16 citation statements)

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“…Sometimes this is a vision of ritual time, and, on occasion, the camera can appear the slave of a cultic archaicism, wholly enfolded by the primal repetitive time of ritual. If, following Auerbach (1953), we think of the two spatial axes of representation as embodying the chronotopic possibilities of earthly (horizontal axis) and divine (vertical axis) agency, we can begin to understand how in “cultic” vision “the connection between occurrences is not regarded as primarily a chronological or causal development but as a oneness within the divine plan, of which all occurrences are parts or reflections” (490). By contrast, the off‐screen space (paralleling what Barthes [1981, 57] called the “blindfield”) is the space of a modern horizontal imagination.…”

Section: Camera Timementioning

confidence: 99%

“…We might compile the different, yet strangely parallel, insights and observations of Auerbach (1953), Kracauer (1969),…”

Section: Camera Timementioning

confidence: 99%

“…We might compile the different, yet strangely parallel, insights and observations of Auerbach (1953), Kracauer (1969), Bakhtin (1981), Panofsky (1997), Benjamin (1999), and Bazin (2005), and in a matrix and deduce that the archaic, cultic picture space, and chronotope are characterized by the frame of a human dormancy that might become animated only through divine intervention from above, whereas the chronotope of the modern (and of most photography) is characterized by the screen, blindfield, volatility, and the possibility—indeed, likelihood—of movement. The archaic involves the stilling of human activity in the expectation that the divine will appear to fill the gap, whereas the modern is already fraught with and built upon its kinetic other.…”

Section: Camera Timementioning

confidence: 99%

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What Time is the Visual? Photography and the History of the Future

Pinney¹

2023

Visual Anthropology Review

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Part of a broader inquiry that asks, "What time is the visual?" this article uses ethnographic observations and recent theoretical work to suggest that photography is as much future-oriented as it is a zone for the preservation of the past. I document different temporal orientations of photographs, drawing on historical studio images featuring clocks and photographic paraphernalia and ethnographic research into memorial images in Nepal and central India. I embrace Ariella Azoulay and Karen Strassler's insights and critique the paradigms established by Pierre Bourdieu and John Tagg. The article concludes with an experiment with photography's prophetic and analytic potential to make visible an "anterior future" in relation to the Bhopal Union Carbide disaster of 1984.

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Section: Camera Timementioning

confidence: 99%

“…We might compile the different, yet strangely parallel, insights and observations of Auerbach (1953), Kracauer (1969),…”

Section: Camera Timementioning

confidence: 99%

Section: Camera Timementioning

confidence: 99%

See 1 more Smart Citation

What Time is the Visual? Photography and the History of the Future

Pinney¹

2023

Visual Anthropology Review

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“…30 Potently, in experiential architectural terms, Erich Auerbach shows how 'inner time' is bracketed with 'exterior time'. 31 Small, incidental Bell and Duncan Grant well, develops a literary equivalent of an overall design that holds together the individual moments within the text. 35 Banfield goes on to suggest that Woolf's short stories and studies -such as Kew Gardens and A Mark on the Wall -become preparatory works for later novels, like To the Lighthouse, which, in itself, becomes a collage of short stories and fragmentary moments -an 'incessant shower of innumerable atoms' which, 'as they fall […] shape themselves into the life of Monday or Tuesday.'…”

Section: Temporal Structurementioning

confidence: 99%

Cathedrals on the light of a butterfly’s wing: the momentary architecture of Virginia Woolf

Carr¹

2023

Arq

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When discussing ‘How Should One Read a Book?’, Virginia Woolf describes the work of an author as ‘an attempt to make something as formed and controlled as a building‘, using architecture as an analogy for the structure of a literary work. The ‘formed and controlled‘ structures of Woolf‘s books are here explored through her 1927 novel To the Lighthouse, which she was writing around the same time as her essay on ‘How Should One Read a Book?‘ and for which she drew a diagram of its tripartite structure. While Woolf repeatedly uses imagery that juxtaposes transitory life with fixed buildings, her writing also suggests another more complex, fleeting architecture. This is revealed through an examination of the temporal structures of her novels and the momentary architecture that forms around its inhabitants. The decay and renewal of the house in the middle section of To the Lighthouse extends this further, revealing a precariousness that undermines the qualities of control, constancy, and permanence she had assumed for a building and, by analogy, her ‘formed and controlled‘ structures. Architecture, instead, becomes momentary and precarious. An assembly of architectural short stories reflect on this reversal as they are ‘read‘ by To the Lighthouse – developing the dialogue between the writing of architecture and building of literature, between architectural possibility and the world-making of words within a book. New College Library by Níall McLaughlin, Ursula Meier‘s film Home, the Marshall House by Dow Jones and the Snellman House by Erik Gunnar Asplund are discussed. The study combines a close reading of the text with a drawn analysis that maps To the Lighthouse and Woolf‘s novels while also reconstructing places she inhabited.

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“…Hence the imitation of nature creates a complex relationship between cultural and technical rather than situated in a single pole. Then, in the new age, it displays enough details of the description of random everyday life, which codes the matrix of natural landscape with culturally constructed reality (Auerbach, 2003). It is now within the new digital/constructed spaces that mimesis acts and is open to the upcoming innovations.…”

Section: Figure: 5 Different Versions Of the First Hut Drawn Bymentioning

confidence: 99%