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+# Mimesis
+## Erich Auerbach
+### 2024
+
+# Literature
+
+# Places
+
+# Art & Architecture
+
+# Words
+
+# Theses
+1. Genesis & Odyssey
+- Parataxis (clauses combined with *and*) and hypotaxis (subordinating/dependent clauses)
+- Both Genesis and Odyssey use parataxis but to different effects?
+- Homeric actions are all external - characters speaking, setting and time completely defined, rather than internal thoughts
+- Everything is described in foreground with 100% light, even during flashbacks like Odysseus' scar
+    - Flashback presented in present tense and divorced from narrative, rather than as Odysseus recollecting the memory
+- In Genesis 22:1 Abraham & Isaac, God introduces himself but is unspecified where he comes from, what he looks like, what time it is, etc
+    - In contrast to Odyssey
+- Bible - externalization of only that which is necessar for narrative, all else left in obscurity, only decisive points emphasized
+    - (in Woolf - only nondecisive points emphasized)
+- Bible's humans are much more psychologically deep
+- "Homer can be analyzed but not interpreted", because everything is spelled out for us
+- But Bible can be interpreted into our own world due to its ambiguity
+- Goal in Odyssey is to transport us into another world by offering such detail about it
+- Goal in Bible is to overwhelm our own sense of reality and replace it with the Bible's, written like this because of the inherent claim to objective truth
+    - Although, advancements in technology have made Bible seem more foreign to us than it would a thousand years ago
+- General ambiguity in the Bible allowed later interpretation to unify even disparate parts written by different authors with different histories/theologies/regions
+- Boring chronicles and genealogies give Bible a historical character, though it be legendary
+- Homeric poems for the most part only animate the ruling class, but Bible is moreso just regular people
+- Homeric world has stable social order, but Old Testament has a lot of political maneuvering
+- Homer occassionally allows the routines of daily life to enter the sublime (like foot washing scene)
+- But Bible is replete with the commonplace becoming sublime, revealing the influence of God into everything - the everyday and sublime are inseparable
+- It is not important to understand the history of the texts because their influence on world was primarily in their completed form
+
+20. To the Lighthouse
+- Focus on mundane events (like measuring stocking) leading to a deep movement of consciousness and psychology within
+- Fluidly moves perspective between individuals and locations and times
+- Sometimes paragraphs with no clear speaker, so it must be author. But paragraph is as unknowing as characters/reader; author is not omniscient.
+    - Makes subjective statements like "Never did anybody look so sad"
+- There is no single external viewpoint from which characters are shown, but viewpoint shifts between each characters inner world in turn
+- Stream of consciousness apt for this purpose, but Woolf's non-omniscient narrator, and multiplicity of perspectives is novel
+- We see Mrs Ramsay from perspective of multiple consciousnesses, all of them subjective, and try to construct an objective truth from them
+- Fog in "Time Passes" that explores entire house kind of similar to perspective? Relationship w/ Eliot's yellow fog?
+- Proust in contrast only uses memory as a device for exploring the past, but not different people at same time
+- Woolf picks very short, mundane moments (like measuring of stocking) to go on lengthy inner-world explorations
+    - Implication that the inner world is richer and fuller, and every second of our lives is full of humanity
+    - Other authors would have picked a more significant moment instead
+- Times of recalled scenes is ambiguous in Woolf, so more fluid than stark flashback in Odyssey scar
+- The main thread of narrative happens in background consciousness
+- "As though an apparently simple text revealed its proper content only in the commentary on it" (pale fire?)
+- Proust development of narrative via memory
+    - Neo-Platonic idea of true prototype of subject to be found in soul of artist; in this case, artist and subject are same
+- Film, unlike novels, can reveal a completely different time and place in great detail in a few seconds before returning back to original scene
+    - Causing modern authors to be acutely aware of the limitations of the novel due to language
+- Important events (like deaths) in To the Lighthouse only mentioned in passing, similar to Proust/Mann
+- Idea that the totality of life is contained in any random fragment, and this is better suited than a summary recital of all of the events like in a history that emph. important points of history
+- Similarly, philological idea that one can analyze a single passage from a book and glean more than analyzing entire book (like Mimesis!)
+    - entire history of european realism would have swamped Auerbach
+- Why did this narrative style evolve after WWI? Widening of man's horizon of knowledge, ideas, culture, existence (started in 15c and grew rapidly w/ globalization)
+- Caused crises of adjustment with conflicts of reliigions, economic systems, philosophical debates, etc.
+- Led to tendency of fascism which proclaims one ideology to exclusion of all others, to resolve conflict
+- But project of modern writers/Woolf: show that multiple perspectives and consciousnesses can exist in harmony and can give rise to an objective truth together
+- Finally - idea that all of humanity is contained within mundane moments that are shared by all humans, unifies us and focuses on our commonality regardless of origin or strata