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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 ?
Con ello, Aristoteles se opone expresamente a la concepcion platonica expuesta en las Leyes 817 b 1-6, en donde afirma que "todo nuestro sistema politico (politeia) consiste en una imitacion de la vida mas bella y mejor (mimesis tou kallistou kai aristou biou), lo que, por cierto, nosotros sostenemos que es realmente la tragedia mas verdadera (ontos einai tragodian ten alethestaten).
The Berlin-based Algerian artist treats repair as a sort of corollary of mimesis. 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.
She does so to show how these novels practice the middle-class promotion of mimesis, in which resemblance and likeness identify a one-to-one correspondence that obviates the fraud, deceit, and falsehood increasingly associated with the honorific culture of the aristocracy.
This is an ambitious study of the relationship between mimesis and the ego that delineates a line of thought that begins with Friedrich Nietzche and descends through Joseph Conrad, D.H.
On the other hand, O'Connor goes to great lengths to elaborate a particularly nebulous term in Adorno's work: mimesis. Through the use of multiple examples such as Baudelaire and Kafka, O'Connor delves into 'mimesis', a term that O'Connor regards as '[t]he most elusive notion in all of Adorno's philosophy' (149).
En 1933 Walter Benjamin escribe su texto mas relevante sobre la mimesis, que cuenta con dos versiones diferentes: "La doctrina de lo semejante", a comienzos de ese ano, antes de su exilio, y "La facultad mimetica", en Ibiza unos meses despues.
In "The Phantom of the Ego: Modernism and the Mimetic Unconscious", his central topic--insight really--is the "loss of ego" in modernism, leaving only a "phantom of the ego." "[T]he experience of mimesis dissolves the modern ego in such a fundamental way that ...
A teoria da metafora e fundamental para que se compreenda o elo entre hermeneutica e literatura, porque Ricoeur pensa a metafora enquanto mimesis que origina a criacao do muthos, ou seja, da ordenacao da intriga.
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.
For example, in the approximate middle of chapter four, "The Broken Mirror: The Crisis of Artistic Mimesis," Mualem remarks that "the question of the relationship between literature and reality preoccupied Borges' thought throughout his life" (139) and then he proceeds to assess this preoccupation "diachronically," that is, chronologically.
I will argue that Amsel's art is analogous in significant ways to what Adorno and Horkheimer call Mimesis, and that Grass, who both affirms and distances himself from the kind of aesthetic negation favored by Adorno, tapped into this energy in his unique response to the well-nigh unanswerable aesthetic challenge posed by the post-war period in the Federal Republic of Germany.
The Aristotelian Psychology of Tragic Mimesis, JOSE M.