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 (mĭ-mē′sĭs, mī-)
1. The imitation or representation of aspects of the sensible world, especially human actions, in literature and art.
2. Biology Mimicry.
3. Medicine The appearance, often caused by hysteria, of symptoms of a disease not actually present.

[Greek mīmēsis, from mīmeisthai, to imitate, from mīmos, imitator, mime.]


1. (Art Terms) art literature the imitative representation of nature or human behaviour
2. (Pathology)
a. any disease that shows symptoms of another disease
b. a condition in a hysterical patient that mimics an organic disease
3. (Biology) biology another name for mimicry2
4. (Rhetoric) rhetoric representation of another person's alleged words in a speech
[C16: from Greek, from mimeisthai to imitate]


(ˈmɪm ɪk ri)

n., pl. -ries.
1. the act, practice, or art of mimicking.
2. the close resemblance of an organism to a different organism, such that it benefits from the mistaken identity, as in seeming to be unpalatable.
3. an instance or result of mimicking.


an imitation, used in literary criticism to designate Aristotle’s theory of imitation. — mimetic, adj.
See also: Criticism
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.mimesis - the imitative representation of nature and human behavior in art and literaturemimesis - the imitative representation of nature and human behavior in art and literature
imitation - the doctrine that representations of nature or human behavior should be accurate imitations
2.mimesis - any disease that shows symptoms characteristic of another disease
disease - an impairment of health or a condition of abnormal functioning
hysterical neurosis, hysteria - neurotic disorder characterized by violent emotional outbreaks and disturbances of sensory and motor functions
3.mimesis - the representation of another person's words in a speech
quotation, quote, citation - a passage or expression that is quoted or cited
References in periodicals archive ?
Yet, the absence of a doctrine of creation in ancient Greek philosophy makes this mimesis disappointing.
One of the root concepts of Western cultural production, mimesis (like the more familiar "mimicry") traces its origins back to the ancient Greek term for art's imitating the natural world.
Materials are the focus of Part II, exposing how matter has its own influence on human behavior rather than merely being used, and engaging such ideas as skeuomorphy, mimesis, and coevolution.
T]he experience of mimesis dissolves the modern ego in such a fundamental way that .
O'Connor argues that mimesis is a foundational concept for Adorno, one that can be found in Dialectic of Enlightenment and Negative Dialectics, and it is also one that is utterly vague.
A work of original and meticulous scholarship, "Rene Girard and Secular Modernity: Christ, Culture, and Crisis" is deftly organized into five chapters: Mimesis, Modernity, and Madness; Violence, the Sacred Canopy; Scripture and Secularization; Modern Institutions and Violence; and War, Terror, Apocalypse.
While Girard puts forth a picture of man's acquisitive nature, and the reason for that acquisitiveness, it is not until we put his ideas of mimesis alongside a political thinker that we see the relevance of Girard for addressing contemporary political and economic problems.
If he carefully constructs his films as meditations on original and copy, in his works on paper the LA-based artist takes mimesis to an extreme, rendering them all but indistinguishable from old photographs or paint-splattered newsprint.
Mimesis North features nine of the most talented photographers working in the UK today, including Claire Cooper, Northumberland photographers Yvonne Davies and Kevin Dowling, Newcastle-based Amanda Hannen and Donna-Lisa Healey from Chester-le-Street, County Durham.
Gass recounts the history of Greek numbers, spelunks the caves of mimesis and metaphor, recalls his father's baseball days, and asks what the Fourth of July can possibly mean post-9/11.
This image displaces the opposition between the original and the copy that dominates traditional accounts of mimesis, for it attributes the precision of detail conventionally associated with a strictly mimetic poetry (the tracing-paper) to a style that begins not with the real but with another work of art (the original drawing), a work that cannot be known apart from the traced copy.