Concept
Representation is the use of signs that stand in for and take the place of something else. It is through representation that people organize the world and reality through the act of naming its elements. Signs are arranged in order to form semantic constructions and express relations. For many philosophers, both ancient and modern, man is regarded as the "representational animal" or animal symbolicum, the creature whose distinct character is the creation and the manipulation of signs – things that "stand for" or "take the place of" something else. Representation has been associated with aesthetics (art) and semiotics (signs). Mitchell says "representation is an extremely elastic notion, which extends all the way from a stone representing a man to a novel representing the day in the life of several Dubliners". The term 'representation' carries a range of meanings and interpretations. In literary theory, 'representation' is commonly defined in three ways. To look like or resemble To stand in for something or someone To present a second time; to re-present The reflection on representation began with early literary theory in the ideas of Plato and Aristotle, and has evolved into a significant component of language, Saussurian and communication studies. To represent is "to bring to mind by description," also "to symbolize, to be the embodiment of;" from representer (12c.), from L. repraesentare, from re-, intensive prefix, + praesentare "to present," lit. "to place before". A representation is a type of recording in which the sensory information about a physical object is described in a medium. The degree to which an artistic representation resembles the object it represents is a function of resolution and does not bear on the denotation of the word. For example, both the Mona Lisa and a child's crayon drawing of Lisa del Giocondo would be considered representational, and any preference for one over the other would need to be understood as a matter of aesthetics.