The rupture of the mimetic epistemological model

Autores

DOI:

https://doi.org/10.5281/zenodo.10261365
Palavras-chave: Mimesis, Iconology, Representation, Baroque, Iconophotology

Resumo

Mimesis as an epistemological model originated in ancient Greece when artists imitated their masters and followed pre-established models. Humanism, in turn, rescues this model and improves it: just as Vergil imitated Homer, Dante imitated Vergil; if Petrarch sought in the classics the source of inspiration for his poetry, Camões, in turn, makes the sonnets from the Italian as his model, to mention a few examples. However, such a procedure did not represent plagiarism, as it was a way to honor the masters. This model reached its peak in the 17th century, declining in the following centuries, especially in the 19th century. However, with its rupture, the representation models permeated Western culture for centuries were lost, leading subjectivity to assume the preponderant role in art. More than a change in the perception of art, there was a change in the world's perception that surrounds humanity, whose significant influence was due to photography.

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Biografia do Autor

Jack Brandão, Universidade de São Paulo

Ph.D., a retired university professor in São Paulo, Brazil; imagery researcher; theoretical of the iconophotological question; director and researcher at the CONDES-FOTÓS Imago Imaging Studies Center.

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Publicado em

31 de janeiro de 2021

Como Citar

BRANDÃO, J. The rupture of the mimetic epistemological model. Revista Letras Raras, Campina Grande, v. 10, n. 1, p. 184–203, 2021. DOI: 10.5281/zenodo.10261365. Disponível em: https://revistas.editora.ufcg.edu.br/index.php/RLR/article/view/2099. Acesso em: 14 nov. 2024.

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Artigos