esemplastic


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esemplastic

(ˌɛsɛmˈplæstɪk)
adj
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]
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014

es•em•plas•tic

(ˌɛs ɛmˈplæs tɪk, -əm-)

adj.
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]
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
References in periodicals archive ?
For example, other significant terms, in the more heavily weighed Biographia, such as "Esemplastic" and "Eisenoplasy" have been referred back in scholarship to phrasal cognates, like Schelling's "In-Eins-Bildung." Coleridge contrives an etymology for "Esemplastic" from "the Greek words, [phrase omitted] [eis en plattein] i.e.
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:
It is also an ordering power within the self that produces a unity, in line with Coleridge's notion that the imagination is "esemplastic"--bringing the many into one.
His solution is a reality-producing power of imagination, which he calls 'primary' or 'esemplastic' since it is a 'shaping' power in the sense that its functioning underpins the topography of the world that we actually live in.
Tate describes "the 'esemplastic power' of the Primary Imagination," for example, as "a Teutonic angel inhabiting a Cartesian machine named Samuel Taylor Coleridge." (6) For Tate, genuine imagination works toward higher syntheses through the things of the world by means of analogy.
Simile is to metaphor as allegory to symbol and as "fancy," in Samuel Taylor Coleridge's writings, is to "imagination": only the second has the "esemplastic" (another Coleridgean term) power to create something new.
They use their esemplastic imagination, understand the problem and visualize novel solutions.
"Incandescence" describes the process that sees Shakespeare's imagination--as Coleridge would have it, his "esemplastic power"--released "whole and entire" (Woolf 66) from his mind, unimpeded by any personal convictions or agendas, and therefore undivided.
There is no division for Nabokov in the great artist as "art and thought, manner and matter, are inseparable." There is, rather, a Coleridgean esemplastic ability:
shimmer their esemplastic metaphors in silent explosions of