Similarity (philosophy) in the context of "Relation (philosophy)"

Mimesis (/mɪˈmiːsɪs, maɪ-/; Ancient Greek: μίμησις, mīmēsis) is a term used in literary criticism and philosophy that carries a wide range of meanings, including imitatio, imitation, similarity, receptivity, representation, mimicry, the act of expression, the act of resembling, and the presentation of the self.

The original Ancient Greek term mīmēsis (μίμησις) derives from mīmeisthai (μιμεῖσθαι, 'to imitate'), itself coming from mimos (μῖμος, 'imitator, actor'). In ancient Greece, mīmēsis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative. After Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society.

In semiotics, a sign is anything that communicates a meaning that is not the sign itself to the interpreter of the sign. The meaning can be intentional, as when a word is uttered with a specific meaning, or unintentional, as when a symptom is taken as a sign of a particular medical condition. Signs can communicate through any of the senses, visual, auditory, tactile, olfactory, or taste.

Two major theories describe the way signs acquire the ability to transfer information. Both theories understand the defining property of the sign as a relation between a number of elements. In semiology, the tradition of semiotics developed by Ferdinand de Saussure (1857–1913), the sign relation is dyadic, consisting only of a form of the sign (the signifier) and its meaning (the signified). Saussure saw this relation as being essentially arbitrary (the principle of semiotic arbitrariness), motivated only by social convention. Saussure's theory has been particularly influential in the study of linguistic signs. The other major semiotic theory, developed by Charles Sanders Peirce (1839–1914), defines the sign as a triadic relation as "something that stands for something, to someone in some capacity". This means that a sign is a relation between the sign vehicle (the specific physical form of the sign), a sign object (the aspect of the world that the sign carries meaning about) and an interpretant (the meaning of the sign as understood by an interpreter). According to Peirce, signs can be divided by the type of relation that holds the sign relation together as either icons, indices or symbols. Icons are those signs that signify by means of similarity between sign vehicle and sign object (e.g. a portrait or map), indices are those that signify by means of a direct relation of contiguity or causality between sign vehicle and sign object (e.g. a symptom), and symbols are those that signify through a law or arbitrary social convention.

Comparative religion is the branch of the study of religions with the systematic comparison of the doctrines and practices, themes and impacts (including migration) of the world's religions. In general the comparative study of religion yields a deeper understanding of the fundamental philosophical concerns of religion such as ethics, metaphysics and the nature and forms of salvation. It also considers and compares the origins and similarities shared between the various religions of the world. Studying such material facilitates a broadened and more sophisticated understanding of human beliefs and practices regarding the sacred, numinous, spiritual and divine.

In the field of comparative religion, a common geographical classification of the main world religions distinguishes groups such as Middle Eastern religions (including Abrahamic religions and Iranian religions), Indian religions, East Asian religions, African religions, American religions, Oceanic religions, and classical Hellenistic religions.

Family resemblance (German: Familienähnlichkeit) is a philosophical idea made popular by Ludwig Wittgenstein, with the best known exposition given in his posthumously published book Philosophical Investigations (1953). It argues that things which could be thought to be connected by one essential common feature may in fact be connected by a series of overlapping similarities, where no one feature is common to all of the things. Games, which Wittgenstein used as an example to explain the notion, have become the paradigmatic example of a group that is related by family resemblances. It has been suggested that Wittgenstein picked up the idea and the term from Friedrich Nietzsche, who had been using it, as did many nineteenth century philologists, when discussing language families.

The first occurrence of the term family resemblance is found in Arthur Schopenhauer (1788–1860; The World As Will and Representation §§17, 27, 28) who attributed the term to the school developed by Friedrich Wilhelm Joseph von Schelling (1775–1854). As demonstrated, Schopenhauer's polemical target is Henrik Steffens (1773–1845), a student of Schelling. The next occurrence appeared in a note from 1930, commenting on Oswald Spengler's ideas. The notion itself features widely in Wittgenstein's later work, and in the Investigations it is introduced in response to questions about the general form of propositions and the essence of language – questions which were central to Wittgenstein throughout his philosophical career. This suggests that family resemblance was of prime importance for Wittgenstein's later philosophy; however, like many of his ideas, it is hard to find precise agreement within the secondary literature on either its place within Wittgenstein's later thought or on its wider philosophical significance.