Because mimesis is powerful. And estrangement is hard.

因为模仿很强大 疏远很难。

So Leonard, how goes the mimesis?

莱纳德 鹦鹉学舌得怎么样？

Tragic mimesis is not seen as some falling away from rational self-mastery that descends through democracy into tyranny.

悲剧性的模仿并不被视为一些人脱离了理性的自我控制， 这种自我控制会通过民主堕落为暴政。

The painter's or mirror man's couch, which is mimesis.

3.画师榻或镜人榻，模仿。

It is a regulation of mimesis in mimetic form.

它是模仿形式的模仿调节。

We move from a metaphysical to a moral critique of mimesis.

我们从形而上学转向对模仿的道德批判。

But the contrast between the two approaches is startling, particularly as they both begin from the understanding of poetry as mimesis.

但这两种方法之间的对比令人吃惊，尤其是当它们都从将诗歌理解为模仿开始时。

As I said above, Aristotle is a proto-Darwinian and sees mimesis in naturalistic terms as a process of behavioral development through adaptation.

正如我上面所说， 亚里士多德是原始达尔文主义者， 他将自然主义术语中的模仿视为通过适应进行行为发展的过程。

" Supple" is a very useful way of describing the elasticity of mimesis.

“柔顺” 是描述模仿弹性的一种非常有用的方式。

The whole matter of education becomes a question of the economy of mimesis, which cuts through the three classical genres.

整个教育问题变成了模仿经济的问题，它贯穿了三种古典类型。

With all the reflexivity of this mimetic critique of mimesis, the layerings of irony continue to accrete.

由于这种对模仿的模仿批评的反身性，反讽的层次不断增加。

What Socrates calls " the gravest accusation" against mimesis is that it succeeds in " maiming even the decent man" (605c).

苏格拉底称之为对模仿的“最严重的指控” 是它成功地“伤害了正派的人” （605c）。

For Vernant and Vidal-Naquet, the new cultural space opened up by ancient tragedy in Greek culture is that of mimesis, the space of the imaginary, pure artifice.

对于 Vernant 和 Vidal-Naquet 来说， 希腊文化中古代悲剧开辟的新文化空间是模仿空间，即想象的、纯技巧的空间。

To be a philosopher, then, is to control the excess of mimesis and the threat of affective ekstasis and self-division that it enacts.

那么，要成为一名哲学家， 就要控制模仿的过度以及由此产生的情感狂喜和自我分裂的威胁。

The assumption that is driving the moral economy of mimesis is that in the just city it is a question of one man, one job.

推动模仿道德经济的假设是， 在公正的城市中， 这是一个人的问题，一份工作。

Socrates' point is that whereas narration is admissible in the just city, some mimesis should not be admitted because the guardians might seek to imitate bad characters and become bad themselves.

苏格拉底的观点是， 虽然叙述在公正的城邦中是可以接受的，但一些模仿不应该被接受， 因为监护人可能会试图模仿坏角色并自己变得坏。

Diegesis is also a form of mimesis, namely the imitation of narration, the retelling of stories that were previously told, which is indeed one plausible way of approaching the origins of epic poetry.

Diegesis 也是模仿的一种形式，即模仿叙述，复述以前讲过的故事，这确实是接近史诗起源的一种合理方式。

If drama is pure mimesis, and lyric is pure diegesis, where the poet (Pindar, Sappho, or whoever) speaks in their own person, then epic employs a mixture of diegesis and mimesis.

如果戏剧是纯粹的模仿， 而抒情诗是纯粹的叙事，诗人（品达、萨福或其他人）以他们自己的身份说话，那么史诗则混合了叙事和模仿。

It is here that Socrates introduces the distinction between narrative and imitation, or diegesis and mimesis, a point that takes a little while to sink in with Adeimantus.

正是在这里， 苏格拉底引入了叙事和模仿， 或叙事和模仿之间的区别，这一点需要一点时间才能与阿德曼图斯一起沉浸其中。

Unlike Plato in the Republic, Phaedrus, and elsewhere, Aristotle does not write a competing counterdrama to the drama of tragedy, a mimetic metacritique of mimesis, but simply gives us a lecture, or quite possibly a series of lectures.

与《理想国》、《斐德罗》和其他地方的柏拉图不同，亚里士多德并没有写一部与悲剧戏剧相竞争的反剧，一部对模仿的模仿元批判，而只是给我们一个讲座， 或者很可能是一系列讲座。