from The Century Dictionary.
- noun In rhetoric, vivid description of a scene or an event, as though it were present before the eyes of the audience; an oratorical word-picture.
- noun A sketch or outline of a science.
from the GNU version of the Collaborative International Dictionary of English.
- noun (Rhet.) A vivid, picturesque description of scenes or events.
from Wiktionary, Creative Commons Attribution/Share-Alike License.
- noun rhetoric A
vivid, picturesque descriptionof scenesor events.
from Wiktionary, Creative Commons Attribution/Share-Alike License
Nor do we even know exactly what its effects are, for hypotyposis is a figure whose effects are themselves described figuratively, with an "as if."
The question arises why, in that case, Kant thinks symbolic hypotyposis is hypotyposis at all.
Here, the comparison to make with Kant is with Kant's statements about figuration, about what he calls hypotyposis, which is the difficulty [my italics — RT] of rendering, by means of sensory elements, purely intellectual concepts.
(A schematic hypotyposis might be, for example, a Euclidean proof.)
Kant's text even illustrates hypotyposis by hypotyposis: His verbal comparison between the comparison between tyrannies and pepper grinders, on one hand, and symbolic and schematic hypotyposes, on the other, shows by symbolic hypotyposis how symbols and schemata are both hypotyposes.
She offers a close reading of Kant's discussion of hypotyposis in section 59 of the
The thinking of hypotyposis, then, could be a model for the realization of aesthetics 'limits and the self-critical registration of this realization.
The only thing that becomes clear in such definitions is that hypotyposis is as thin referentially as a term of art could be.
At any rate, hypotyposis for Kant is certainly a problem for understanding, and a very difficult problem that again threatens philosophical discourse; whereas here it is offered by Schiller as a solution, again in the form of a chiasmus, for a similar opposition.
Kant's examples of the equally symbolic corporeal and machinic presentations of monarchy might be said to reveal that symbolic hypotyposis all too conveniently imports qualities from the presentable to the unpresentable through the lie of poetry.