[First paragraph]: This article is part of a larger project in which I suggest a historically informed philosophy of dance, called “figuration,” consisting of new interpretations of canonical philosophers. Figuration consists of two major parts, comprising (a) four basic concepts, or “moves”—namely, “positure,” “gesture,” “grace,” and “resilience”—and (b) seven types, or “families” of dance—namely, “concert,” “folk,” “societal,” “agonistic,” “animal,” “astronomical,” and “discursive.” This article is devoted to the first of these four moves, as illustrated by both its importance for Aristotle (...) and also its applicability to these seven families of dance. One goal of figuration as a whole, and the central goal of this excerpt from that larger project, is to model and justify a dancing aesthetic education pursuant to psychological and political flourishing. (shrink)

How can citizens construct the political authority under which they will live? I argue that Thomas Hobbes’s Leviathan (1651) answers this question concerning the constitutive power of political and normative agency by employing four dimensions of mimesis from the Greek and Roman traditions. And I argue that mimesis accounts for the know-how, or power/knowledge, the general ‘man’ draws upon in constructing the commonwealth. Hobbes revalues poetic mimesis through his stylistic decisions, including the invitation to the reader to read ‘himself’ in (...) the portrait of the general man depicted in the text. Hobbes aims for Leviathan to change the ethical dispositions of its readers, turning them from bad to good men as they witness the general man undergoing this ethical transformation in the transition from the state of nature to the civil state. He emphasizes the anthropological dimension of mimesis to explain political disorder since he argues that men assess the honor others attribute them by observing signs and gestures in others’ behavior. Hobbes employs the linguistic dimension of mimesis to describe how men acting as agents can build a normative consensus out of the state of nature. This article positions mimesis as a key term for understanding the intersection between aesthetics and politics before the term ‘aesthetics’ came into parlance. (shrink)