Mimetic and mimicry. There is something oddly similar about these two words. In fact, I know that the first word I think of upon seeing these two words is mimic – to copy or imitate closely, especially in speech, expression, and gesture.
In Benjamin’s essay, he argues on the topic of the mimetic faculty and mimesis, in that it is natural for the world to produce similarities; however, these similarities develop throughout history. Through this, the sensuous similarity has changed to the nonsensuous similarity; this is clarified through the “canon” of language. Benjamin states that, “language may be seen as the highest level of mimetic behavior and the most complete archive of nonsensuous similarity” (722). With language, we fulfill the naturalness of producing similarities.
Similarly, Bhabha’s essay “Of Mimicry and Man” portrays the importance of humans in creating mimesis. What distinguishes Bhabha from Benjamin is his reliance on two separate forces, rather than language, to enact the similarities and create identity. Two powers are required in mimesis, one dominant and one submissive, and the submissive will gain its identity from the dominant in order to survive. But, they can never be completely similar, only partially. Bhabha states that, “’partial’ representation rearticulates the whole notion of identity and alienates it from essence” (129). While the submissive may change identity, its essence remains relatively unchanged.
The chapter “Kalihi in Farrah” in Rolling the R’s represents Benjamin’s notion of mimesis. Orlando Domingo is obsessed with Farrah. The line, “’Just call me Farrah,’ he says, ‘as in Far-Out Farrah, or Faraway Farah’” emphasizes Orlando’s use of language in order to be identified as something else; it creates a similarity between both him and the real Farrah. (23). Similar to how Benjamin states that, “imitative behavior in language formation was acknowledged under the name of onomatopoeia,” so too can imitative behavior be seen in the name of an individual – we use language to define those individuals in a similar ways to other individuals. In addition, Orlando proceeds to dress and act as Farrah. His transformation of mimesis is complete when the Filipino Farrah wanna-be queens as him, “’Farrah, Farrah, what’s the secret to your hair?’” (24). They believe, in a way, that Orlando has become Farrah herself. When the queens ask him about his hair, they create a connection between the original and the mimic, in that potentially they can learn the secrets that the real Farrah uses. The use of language as a identity mechanism allows Orlando to effectively mime Farrah.
You did a great job explaining both of these essays--you actually helped me understand them more! I think this chapter is especially relevant to both Benjamin and Bhabha's work, even later in the chapter. The parents want Orlando to be expelled from school "before our boys catch this madness and start huddling in skirts and pom-pons" (23). The mothers seem to be aware of the effect of mimetic faculty. They are scared that their boys will inevitably catch on to Orlando's behaviors and become similar to him. The mimetic faculty, and that humans have the "highest capacity for producing similarities" scares the mom, hence their complaints about Orlando staying in school (720).
ReplyDeleteI too thought, at first, that the words were extremely similar, if not identical. I think that your summaries of the two theories are excellent. But I wonder if Benjamin's is the only theory present within the passage. Upon closer reading, do you think that the fact that those who look up to Orlando are referred to as "Filipino Farrah wanna-be queens" actually supports Bhabha's notion that two things can only be partially similar and not completely identical?
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