Imitative Poetry Research Articles

Philip Sidney's 'An Apology for Poetry': A Scholarly Analysis

In this article, an attempt was made to present a scholarly analysis of “An Apology for poetry” written by Philip Sidney. Sidney in his work expressed critical guidelines to create understanding about the poetry among readers. According to him, poetry is a particular form of communication, particularly when addressing complex relationships that require additional rhetorical effort, such as persuasion and art. He subdivided the creative poetry to make a clear sense to his readers and made strong arguments about the creative nature of imitative poetry. Poetry is noble to all sciences and it comes from the poet’s heart and ideas of imagination. He defended the accusations against poetry and established the environment of understanding about poetry’s importance and excellence for his readers for the sake of the audience’s stronger development in understanding and deep effective learning.

Textual Borrowing of Aftertime Literati from the Nineteen Old Poems

The Nineteen Old Poems, hailed as the crown jewel of five-character lines, has left an indelible mark on countless poets of subsequent generations, inspiring an array of imitative works. This paper aims to explore the diverse practices of textual borrowing from the Nineteen Old Poems across three distinct historical periods: the late Han and Wei-Jin periods (Cao brothers, Ruan Ji, Lu Ji), the Tang dynasty (Li Bai, Wei Yingwu), and the Ming dynasty (He Jingming, Li Panlong, and others among the Earlier and Later Seven Masters). By selecting representative imitative poems from these poets and comparing them with the original works, this paper reveals that each dynasty (period) exhibits unique characteristics in its textual borrowing from the Nineteen Old Poems, which differ widely. Notably, the influence of these poems was widespread during the late Han and Wei-Jin period, but varied significantly during the Tang dynasty due to the diversity of poets and poetic styles. This paper sheds light on the innovative linguistic styles and artistic techniques prevalent during the Wei-Jin period, as well as the tendency towards literati stylization, delves into the inheritance and reformation of the ancient poetic tradition by literati during the Classical Revival Movement in the Ming dynasty, contributes to the broader research on imitative poetry derived from the Nineteen Old Poems and probes into its artistic achievements and literary value.

The Metaphysics of Appearance in Republic X (596a5–598d7)

Plato's Republic X attack on imitative poetry is based in the metaphysics of appearance, since appearances are the objects and products of imitation. I offer a new reading, showing that Plato's account coherently introduces appearances as a new type of item, distinct from Forms and sensible particulars, and applies beyond imitation to a broad range of appearances. Focusing on the importance of perspective to Plato's reasoning, I argue that an appearance is a relation that comes about between a material particular and an apprehending subject. Ordinarily, appearances are transparent: they confer determinate awareness on the subject, but are not the objects of our awareness insofar as we are appeared to. This reading resolves longstanding obscurities, grounds an improved account of imitation, and shows that Plato here presents the cornerstone of a general theory of appearance.

한국어 학습자의 비유적 표현 능력 향상을 위한 모방시 쓰기 수업 연구

한국어 학습자의 비유적 표현 능력 향상을 위한 모방시 쓰기 수업 연구

The Rhetoric of Plato’s Republic: Democracy and the Philosophical Problem of Persuasion

The Rhetoric of Plato’s <i>Republic</i>: Democracy and the Philosophical Problem of Persuasion

By Uniting It Stands: Poetry and Myth in Plato’s Republic

This article argues against readings that tend to overlook, dismiss or reduce the profound role of poetry and myth in Plato’s Republic. It discusses and rejects the distinction between myth and poetry that we find in such readings. Then it makes the case for the irreducibility of poetry. Crucially, poetry determines both the state and the frame of mind of the dialogue’s interlocutors, and we can expect it to do the same for the Kallipoleans. The attraction of the irrational part of the soul to imitative poetry entails that imitation is both beneficial and pleasant. In the last section of the article it is argued that myths, understood as false stories, play a significant role in early education. This education constitutes a critical juncture and sets up a path dependency in the lives it affects. Myths shape one’s motivational dispositions, preserve true opinions, and facilitate communicative understanding.

Fiction in the First Person, or Immoral Writing

complete “rejection of imitative poetry”—in other words, fiction. 1 Which speaks, he says, in the place of “those who have gone to war”: the real people, who have suffered in their flesh, who actually know the weight of words and the burden of the dead. 2,400 years ago, the idea that fiction could present a vision of reality as accurate as—or even truer than—a factual account was already subversive. I am a writer of metaphors, and of fiction; indeed, I have no choice. I write with familial mantras that are like damnations, but above all, I write with my imaginaire: my imaginary. If there is a particular strength to my fiction, which has been described as “empathetic,” it is that this writing offers a textual locus of identification. It’s astonishing, the power of the real-effect, which can provoke confusions, sensitivities, and outbursts, even the accusation of “psychic plagiarism” in the case of my latest novel, Tom is Dead. 2 This accusation sprang from the idea that to write in the first person about a period of mourning, one must have endured such an ordeal oneself. Otherwise, this narrative is of necessity usurped, or even copied outright. As if fiction were never anything but the plagiarism of a factual account. In slipping into the fictional skin of Tom’s mother, in searching for that aria’s voice, if I was thinking of a real person, it was my own mother, even though the story I invent in Tom is Dead has nothing to do with us. My books, and especially this one, are almost always—and deliberately—fiction. As it happens, the violent polemic that followed the publication of this novel in France compelled me to make public certain autobiographical facts to justify my having written a work from my imaginaire. There have been several attacks recently in France against other firstperson novels described as “extreme fiction.” In 2007, Pierre-Emmanuel Dauzat accused Jonathan Littell of “plagiarizing the dead” and “plagiarizing the Nazis” for The Kindly Ones. 3 In late 2009, Claude Lanzmann accused Yannick Haenel of usurpation and plagiarism because the novelist presented his own version of a historical figure, Jan Karski (interviewed by Lanzmann in Shoah), and did so by speaking for the character of Karski in a fictitious

A mimesis nos Livros III e X da República de Platão

&lt;div class="page" title="Page 22"&gt;&lt;div class="layoutArea"&gt;&lt;div class="column"&gt;&lt;p&gt;&lt;span&gt;O presente estudo tem como objetivo investigar a questão da &lt;em&gt;mimesis&lt;/em&gt; na &lt;em&gt;República&lt;/em&gt; de Platão; que o leva a banir a poesia de sua cidade ideal e o porquê deste ataque. No início da &lt;em&gt;República&lt;/em&gt; Platão aparenta assumir uma posição branda em relação à poesia imitativa, mas ao longo da obra a sua censura vai tornando-se cada vez mais violenta até culminar com o banimento do poeta de sua cidade ideal. Quando Platão desvela o seu maior ataque à poesia no Livro X, muita discussão já foi feita acerca da educação da cidade ideal e do cidadão ideal; paralelo entre o todo e a parte que Platão estabelece durante toda a exposição de sua doutrina. Apoiando-nos na crítica moderna sobre tal problemática pretendemos obter uma visão mais abrangente sobre os estudos da mimesis retratada nos Livros III e X da &lt;em&gt;República&lt;/em&gt; de Platão.&lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&lt;div class="page" title="Page 1"&gt;&lt;div class="layoutArea"&gt;&lt;div class="column"&gt;&lt;p&gt;&lt;strong&gt;Mimesis in Book 3 and 10 of Plato’s Republic &lt;/strong&gt;&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Abstract &lt;/strong&gt;&lt;/p&gt;&lt;p&gt;&lt;span&gt;The present study aims to investigate the question of the mimesis &lt;/span&gt;&lt;span&gt;in Plato’s &lt;/span&gt;&lt;span&gt;Republic, what motivates him to banish the poetry of its ideal city and the reasons of this attack. At the beginning of the Republic, Plato seems to assume a lenient position on the imitative poetry, but throughout the dialogue his censorship becomes increasingly violent until culminating with the banishment of the poet from its ideal city. When Plato evinces his major attack against the poetry in Book X, much discussion had already been made concerning the ideal &lt;/span&gt;&lt;span&gt;city’s education and the ideal citizen by the parallel between the whole and the part that &lt;/span&gt;&lt;span&gt;Plato establishes during the entire exposition of his doctrines. With the support of the modern critics about such problematic, we intend to get a more including understanding of the studies of mimesis &lt;/span&gt;&lt;span&gt;in Books III and X of Plato’s &lt;/span&gt;&lt;span&gt;Republic. &lt;/span&gt;&lt;/p&gt;&lt;p&gt;&lt;span&gt;&lt;strong&gt;Keywords:&lt;/strong&gt; Ancient Philosophy, Plato, Republic, mimesis. &lt;/span&gt;&lt;/p&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;p&gt;&lt;span&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;

The Cambridge companion to Plato's Republic

1. The protreptic rhetoric of the Republic Harvey Yunis 2. The place of the Republic in Plato's political thought Christopher Rowe 3. Rewriting the poets in Plato's characters David O'Connor 4. Wise guys and smart alecks in Republic 1 and 2 Roslyn Weiss 5. Justice and virtue: the Republic's inquiry into proper difference Aryeh Kosman 6. The noble lie Malcolm Schofield 7. The three-part soul G. R. F. Ferrari 8. Eros in the Republic Paul Ludwig 9. The utopian character of Plato's ideal city Donald Morrison 10. Philosophy, the forms and the art of ruling David Sedley 11. Sun and line: the role of the good Nicholas Denyer 12. Beginning the 'longer way' Mitchell Miller 13. The city-soul analogy Norbert Blossner 14. The unhappy tyrant and the craft of inner rule Richard D. Parry 15. What is imitative poetry and why is it bad? Jessica Moss 16. The life-and-death journey of the soul: interpreting the myth of Er Stephen Halliwell.

Education and the Arts in Plato's Republic

The education in ‘music’ described in Books II-III of the Republic combines the content and the manner of presentation of stories so that moral substance and formal beauty work together to inculcate the opinions and virtues required in the children who are to become guardians of the ideal city. The principles which underlie this section constitute a theory of the role of the arts in moral education that can be applied in others contexts. Plato's view of how such education works depends upon his view of the way in which imitation affects the soul, and can be understood thoroughly only after the parts of the soul have been distinguished and the epistemological and ontological groundwork has been laid for a full discussion of imitation. These requirements having been met in the course of Books IV through IX, Plato returns to imitation in Book X, using painting as a foil to mount ontological, epistemological, and psychological criticisms of imitative poetry, now focussing upon its effect on adults, not children. His attack tacitly exempts the kind of imitations exemplified by Socrates' own frequent image making and by the philosophical poetry of the Republic itself. Socrates imagines, but rejects, a certain defense of popular poetry, the very one which Aristotle developed in his doctrine of ‘catharsis.’ But that defense rests upon views of practical knowledge and of the psychological resources of the average person that Plato would be unlikely to have accepted.

Education and the Arts in Plato's Republic

The education in ‘music’ described in Books II-III of the Republic combines the content and the manner of presentation of stories so that moral substance and formal beauty work together to inculcate the opinions and virtues required in the children who are to become guardians of the ideal city. The principles which underlie this section constitute a theory of the role of the arts in moral education that can be applied in others contexts. Plato's view of how such education works depends upon his view of the way in which imitation affects the soul, and can be understood thoroughly only after the parts of the soul have been distinguished and the epistemological and ontological groundwork has been laid for a full discussion of imitation. These requirements having been met in the course of Books IV through IX, Plato returns to imitation in Book X, using painting as a foil to mount ontological, epistemological, and psychological criticisms of imitative poetry, now focussing upon its effect on adults, not children. His attack tacitly exempts the kind of imitations exemplified by Socrates' own frequent image making and by the philosophical poetry of the Republic itself. Socrates imagines, but rejects, a certain defense of popular poetry, the very one which Aristotle developed in his doctrine of ‘catharsis.’ But that defense rests upon views of practical knowledge and of the psychological resources of the average person that Plato would be unlikely to have accepted.

Plato's Greatest Accusation against Poetry

InRepublicX.605c-607a, Plato makes what he says is the greatest accusation against imitative poetry: ‘We have not yet made the greatest accusation against it [sc.mimetikē]. For the fact that it is able to harm reasonable people, except for a very few, is surely most terrible’ (605c6-8). What follows is a subtle theory of audience psychology. Plato accuses the poet of creating special circumstances in which knowledge of what constitutes moral virtue is not an adequate protection against wrong-doing. The poet does not merely give us false beliefs, as a sophist does, he attacks the very order of the soul.This new charge depends on those preceding it, in which the poet was said to make things ‘third from the truth’ and to deceive the ignorant in a way analogous to that in which the painter makes children and fools think that a painted carpenter is a real carpenter, if they see it from afar (598c). We must begin by examining this important analogy.

Dr. Johnson and Juvenal: A Problem in Critical Method

LITERARY histories' have tended to treat translation2 as an exotic subgenre, of interest primarily as evidence of the advance of learning, vernacular florescence, and as source material for writing. The failure to consider translation as literature made it possible for a critic like William Gardner Hale to condemn out of hand Ezra Pound's Homage to Sextus Propertius.3 Fortunately modern criticism has developed beyond the crude romantic antithesis between original poetry and imitative poetry. Johnson's Vanity of Human Wishes has received intelligent attention in recent years. But even when a creative process has been observed, criticism has not taken us far beyond the fact that Johnson's version is not like Juvenal's poem in satiric mode. Many of the critical approaches to his imitation of Juvenal X have been unable to see the problem in terms appropriate to the mode of writing. More important, no one has attempted to consider Johnson's modifications of Juvenal in a larger dynamic context by taking into account other versions. No one now seriously makes the sort of objections raised by Dennis against Pope's Iliad. Nevertheless, in the absence of a widely held theory of styles4 there has been no proper understanding of the sig-