This study outlines mimesis as an artistic concept that
spans the middle ages, the Renaissance, the modern and the postmodern and then
applies this terminology to the use of the term in the context of sport. This
has been done through the application of the “four orders of mimesis” within
the general categories of the premodern, the modern and the postmodern as
applied to sport. This is achieved through a rehearsal of arguments gleaned
from theorists of sport which converge as aspects of mimesis. The reason for
doing so is that if a similar mimetic quality can be found in both the
disciplines of art and sport, then it appears that there is a relationship
between them and, in agreement with Huizinga (1949), it is conceded that this
common “element” is “play” and more specifically that this commonality can be
described as mimetic “play”. However, at first, it is necessary to discern a
common mimetic quality historically associated with the sport. Once that is
achieved, an analysis of “play” follows and this study closes with two
deductions that the art-sport dialectic, via the lens of “play” suggests
conceptually, namely “Self-referentiality” and “absence” or “content”
suggesting a continuum between art and sport and thus concludes with an
analysis of sport as a tragic form of art in many instances (of expression).
Author(s) Details
Daniel Shorkend
Department of English, Gordon College, Israel.
Please see the book here:- https://doi.org/10.9734/bpi/cpassr/v4/2032
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