Imitation and Society

“The argument about Burke’s Enquiry is brilliant and original. The idea of treating aesthetics through mimesis rather than versions of affect (that is, treating aesthetic theory as if it were a poetics) is original, and I find Huhn’s argument convincing and illuminating. Especially interesting is his explication via mimesis of the terms ‘imagination’ and ‘judgment.'. . . Burke’s theory is a heavily invested area and Huhn says something original and important. Similarly, Huhn analyses Hogarth’s discourse in his Analysis of Beauty as if it were a philosophical discourse. This is an extremely useful thing to do—and it has not even remotely been done. . . . He has clarified points for me, and I’ve been studying Hogarth for forty years. . . . By treating his Analysis seriously as a philosophical text, Huhn has conferred a dignity on Hogarth’s thought that I find gratifying—and long overdue. He contributes to the growing sense we have of Hogarth’s being one of the central figures in English culture of the eighteenth century. . . . I can testify that Huhn’s Burke and Hogarth chapters are both knowledgeable and extremely intelligent.”

—Ronald Paulsen,The Johns Hopkins University

“Huhn's study is exactly what one hopes for from scholarly monographs—it is a learned and incredibly well informed exposition of major figures in intellectual and artistic history, coupled with an exciting and innovative new perspective. Huhn (School of Visual Arts, New York) argues that mimesis, far from being simple representation, is the mark of a conceptual breakdown in representation. He explores major figures of the 18th century—such as Burke, Hogarth, and Kant—and demonstrates how these figures wrestled with and transformed the concept of mimesis. Huhn is that rare specimen of scholar who wears his learning lightly. He has clearly immersed himself deeply in the work of Theodor Adorno and come to an original and fresh interpretation of him. His investigations of Burke, Hogarth, and Kant are not only brilliant explications in and of themselves—they are profound and stimulating meditations on the implications of Adorno's thoughts on aesthetics and philosophy. This is one of those wonderful books that one can recommend to anyone interested in either Burke, Hogarth, or Kant—as well as anyone interested in Adorno, contemporary aesthetics, or the theory of mimesis. Summing Up: Highly recommended. Upper-level undergraduates through researchers/faculty.”

—S. Barnett Choice