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literature making into one; unifying
[C19 (first used by Samuel Taylor Coleridge): from Greek es, eis into + em, from hen, neuter of heis one + -plastic]


(ˌɛs ɛmˈplæs tɪk, -əm-)

having the ability to shape diverse elements or concepts into a unified whole; unifying: the esemplastic power of the mind.
[1817; < Greek es-, dial. variant of eis- into + (h)én, neuter of heîs one + plastic; irreg. coinage by S. T. Coleridge]
References in periodicals archive ?
The invention of plastic has given birth to a celluloid spectacle, whose reveries displace the esemplastic imagination of the romantics, filling our hollow skulls with an injection-moulded mentality, as pliable and as durable as any blob of polypropylene.
As such, the social being necessarily inhabits the position of the ultimate articulator--an esemplastic "poet" engaged in the lifetime project of "nest building" and self fashioning by using a radical diversity of discourses, discursive fragments, and social relations as his or her raw materials.
The Paracelsian imagination is thus compared to a magic powerful image, a magnet exerting a unifying force (Coleridge's imagination as esemplastic magic power), the celestial acting on the terrestrial, the supernatural acting on the natural, the spark igniting the fire:
They use their esemplastic imagination, understand the problem and visualize novel solutions.
shimmer their esemplastic metaphors in silent explosions of
If nothing else, the authors invite the playful esemplastic pleasures of seeing recognizable shapes in the clouds and wild religious meanings in films.
Through an analysis of these self-reflexive narrative features, this article demonstrates that the city of marvels to which the title refers acts as metaphorical allusion to the esemplastic space of the writer's imagination, and cannot be read as a direct reference to the historical space of early twentieth-century Barcelona.
For Scrabble players, let's try exigent, etiolated, epitomical, effulgent, esemplastic, erumpent, and embrasured.
Morrow will not fit into these diagrams since, with Coleridge, he prizes the esemplastic power that unites everything into one, and does not back away from it in any of his doings.
They do not, like natural objects, need the esemplastic imagination of the perceiver for their being what they are perceived to be.
Coleridge even hazards a neologism, speaking of an esemplastic power -- "from the Greek words, eis en plattein, that is, to give form to realize the One, to shape into one.