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Flower, Harry Mitchell. "The structuralist enterprise and Aristotle's Poetics /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu148726601122196.
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Way, Peter B. "Classicism in Aristotle's Poetics and Liu Xie's Wenxin diaolong /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6633.
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Wood, Matthew Stephen. "Aristotle and the Question of Metaphor." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32476.
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This doctoral dissertation aims to give a comprehensive and contextual account of Aristotle’s theory of metaphor. The dissertation is organized around the central claim that Aristotle’s definition of metaphor in Chapter 22 of the Poetics, as well as his discussion of it in Book III of the Rhetoric, commit him to what I call a vertical theory of metaphor, rather than to a horizontal one. Horizontal theories of metaphor assert that ‘metaphor’ is a word that has been transferred from a literal to a figurative sense; vertical theories of metaphor, on the other hand, assert that ‘metaphor’ is the transference of a word from one thing to another thing.
In addition to the introduction and conclusion, the dissertation itself has five chapters. The first chapter sketches out the historical context within which the vertical character of Aristotle’s theory of metaphor becomes meaningful, both by (a) giving a rough outline of Plato’s critical appraisal of rhetoric and poetry in the Gorgias, Phaedrus, Ion, and Republic, and then (b) showing how Aristotle’s own Rhetoric and Poetics should be read as a faithful attempt to reform both activities in accordance with the criteria laid down by Plato in these dialogues. The second and third chapters elaborate the main thesis and show how Aristotle’s texts support it, by painstakingly reconstructing the relevant passages of the Poetics, Rhetoric, On Interpretation, Categories and On Sophistical Refutations, and resolving a number of interpretive disputes that these passages raise in the secondary literature. Finally, the fourth and fifth chapters together pursue the philosophical implications of the thesis that I elaborate in the first three, and resolve some perceived contradictions between Aristotle’s theory of metaphor in the Poetics and Rhetoric, his prohibition against the use of metaphors in the Posterior Analytics, and his own use of similes and analogical comparisons in the dialectical discussions found in the former text, the De Anima and the later stages of his argument in the Metaphysics.
In many ways, the most philosophically noteworthy insight uncovered by my dissertation is the basic consideration that, for Aristotle, all metaphors involve a statement of similarity between two or more things – specifically, they involve a statement of what I call secondary resemblance, which inheres to different degrees of imperfection among things that are presumed to be substantially different, as opposed to the primary and perfect similarities that inhere among things of the same kind. The major, hitherto unnoticed consequence I draw from this insight is that it is ultimately the philosopher, as the one who best knows these secondary similarities, who is implicitly singled out in Aristotle’s treatises on rhetoric and poetry as being both the ideal poet and the ideal orator, at least to the extent that Aristotle holds the use of metaphor to be a necessary condition for the mastery of both pursuits. This further underscores what I argue in the first chapter is the inherently philosophical character of the Poetics and the Rhetoric, and shows the extent to which they demand to be read in connection with, rather than in isolation from, the more ‘central’ themes of Aristotle’s philosophical system.
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Barriviera, Alessandro. "Poetica de Aristoteles : tradução e notas." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268984.
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Previous issue date: 2006<br>Resumo: O presente trabalho consiste numa tradução da Poética de Aristóteles, acompanhada do texto grego e notas. A poesia sempre teve papel predominante na cultura grega antiga. Conduta moral e religiosa, por exemplo, tinham suas regras - mesmo se criticadas por alguns - estabelecidas nos poemas homéricos. Ao contrário de seu mestre Platão, que excluía a poesia do domínio da investigação racional, atribuindo-a antes ao entusiasmo e inspiração das Musas e inserindo o poeta na mesma classe dos profetas e adivinhos, Aristóteles julgava que a poesia podia ser submetida à reflexão racional e sistematizada num corpo de conhecimentos a que os gregos davam o nome de techne, e que nós traduzimos por "arte" ou "técnica". A Poética constitui o esforço de Aristóteles para cumprir tal tarefa. A obra é constituída de 26 capítulos e pode ser dividida em três principais partes: (a) dos capítulos 1 a 5 Aristóteles teoriza sobre a natureza da poesia em geral, subsumindo-a no gênero das artes miméticas; (b) os capítulos 6 a 22 consistem num estudo minucioso da tragédia e de suas partes constitutivas; (c) a partir do capítulo 23 até ao final, Aristóteles volta-se para o estudo da poesia épica. A Poética culmina com uma comparação entre esses dois gêneros poéticos e o julgamento da tragédia como superior à epopéia<br>Abstract: This work consists in a translation of Aristotle's Poetics, with greek text and notes. Poetry has always had a predominant role in ancient greek culture. For instance, moral and religious behaviour had their rules - even if criticized by some - laid down in Homeric poems. Contrary to his master Plato, who excluded poetry from the scope of rational investigation, ascribing it rather to enthusiasm and Muses' inspiration, and ranging the poet with prophets and diviners, Aristotle considered that poetry could be subjected to rational reflection and systematized in a body of knowledge which the Greeks called techne ("art" or "craft"). The Poetics constitutes Aristotle's effort to fulfill such a task. The work is formed by 26 chapters and can be divided up into three main parts: (a) from chapter 1 to 5, Aristotle theorizes about the nature of poetry in general, subsuming it into the genre of mimetic arts; (b) chapters 6 to 22 consist in a meticulous study of tragedy and its constitutive parts; (c) from chapter 23 to the end, Aristotle turns towards the study of epic. The Poetics culminates in a comparison between both these poetic genres, tragedy being judged superior to epic<br>Mestrado<br>Mestre em Linguística
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Hiatt, Robert F. "Gothic Romance and Poe's Authorial Intent in "The Fall of the House of Usher"." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/135.
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In my thesis I will discuss Edgar Allan Poe’s “The Fall of the House of Usher” in relation to the expectations that scholars have of the gothic genre. I will break this project into four chapters, along with an introduction: (Ch.1) a critical review of scholarship on Poe’s “Usher” that will demonstrate the difficulty in coming to a critical consensus on the tale, (Ch.2) a discussion of Brown’s outline of Gothic conventions, (Ch.3) a look at Poe’s “The Philosophy of Composition” juxtaposed with Aristotle’s Poetics to illumine aspects of Poe’s approach to writing and how it has been informed, and (Ch.4) a close reading of Poe’s “Usher.”
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Bouchard, Elsa. "De la poétique à la critique : lʼinfluence péripatéticienne chez Aristarque". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040057.
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Cette thèse vise à suggérer l’existence d’un partage d’une théorie poétique commune entre l’école d’Aristote d’une part et le grammairien Aristarque de Samothrace d’autre part. À partir d’un examen des textes et des fragments de la critique littéraire hellénistique, deux aspects fondamentaux de la poétique péripatéticienne font l’objet d’une comparaison avec Aristarque, soit : 1) la prise de position interprétative qui tient compte de la nature fictionnelle du discours poétique et le soustrait aux critères de vérité traditionnellement imposés par les lecteurs anciens, notamment à l’intérieur de la tradition allégorique ; et 2) la reconnaissance de l’autonomie relative du contenu de l’œuvre poétique face à l’auteur, particulièrement dans le rapport qu’entretient ce dernier avec ses personnages<br>This thesis sets out to examine two points of contact in the poetics of the Peripatetics and Aristarchus, namely : 1) the exegetical attitude that takes account of the fictionality of poetry, thus exempting it from the constraints of truthfulness that ancient readers traditionally imposed on it, especially within the allegorical tradition; 2) the perception of the content of a work of poetry as being autonomous from its author, especially with regard to the relation between the poet and his characters
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Anderson, Daniel Paul. "Plato's Complaint: Nathan Zuckerman, The University of Chicago, and Philip Roth's Neo-Aristotelian Poetics." online version, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=case1196434510.
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Neel, Paul Joseph. "The Rhetoric of Propriety in Puritan Sermon Writing and Poetics." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1352580869.
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Gazoni, Fernando Maciel. "A poética de Aristóteles: tradução e comentários." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-08012008-101252/.
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Este trabalho é uma tradução da Poética de Aristóteles (com exceção dos capítulos 19 a 22, que não são discutidos aqui) acompanhada de comentários. A intenção dele é estabelecer um texto que leve em conta as várias contribuições dadas pelas principais traduções francesas, inglesas, italianas e portuguesas, e situar, por meio dos comentários, a Poética dentro do corpus da filosofia aristotélica, especialmente a ética de Aristóteles e sua teoria da ação.<br>This paper is a translation into Portuguese of Aristotle\'s Poetics (with the exception of chapters 19 trough 22, which are not discussed here), with accompanying commentaries. Its intention views the establishment of a text that takes into account several contributions given by the main French, English, Italian and Portuguese translations. The commentaries consider Poetics as a part of the Aristotelian philosophy teachings, especially Aristotle\'s ethics and his action theory.
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Lazarus, Micha David Swade. "Aristotle's Poetics in Renaissance England." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:fea8e0e3-df54-4b57-b45d-0b46acd06530.
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This thesis brings to light evidence for the circulation and first-hand reception of Aristotle's Poetics in sixteenth-century England. Though the Poetics upended literary thinking on the Continent in the period, it has long been considered either unavailable in England, linguistically inaccessible to the Greekless English, or thoroughly mediated for English readers by Italian criticism. This thesis revisits the evidentiary basis for each of these claims in turn. A survey of surviving English booklists and library catalogues, set against the work's comprehensive sixteenth-century print-history, demonstrates that the Poetics was owned by and readily accessible to interested readers; two appendices list verifiable and probable owners of the Poetics respectively. Detailed philological analysis of passages from Sir Philip Sidney’s Defence of Poesie proves that he translated directly from the Greek; his and his contemporaries' reading methods indicate the text circulated bilingually as standard. Nor was Sidney’s polyglot access unusual in literary circles: re-examination of the history of Greek education in sixteenth-century England indicates that Greek literacy was higher and more widespread than traditional histories of scholarship have allowed. On the question of mediation, a critical historiography makes clear that the inherited assumption of English reliance on Italian intermediaries for classical criticism has drifted far from the primary evidence. Under these reconstituted historical conditions, some of the outstanding episodes in the sixteenth-century English reception of the Poetics from John Cheke and Roger Ascham in the 1540s to Sidney and John Harington in the 1580s and 1590s are reconsidered as articulate evidence of reading, thinking about, and responding to Aristotle's defining contribution to Renaissance literary thought.
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SILVA, CHRISTIANI MARGARETH DE MENEZES E. "CATHARSIS, EMOTION AND PLEASURE IN ARISTOTLES POETICS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15172@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>A presente tese de doutorado trata da catarse, da emoção e do prazer na
Poética de Aristóteles. O filósofo não define o que entende por catarse trágica na
obra; no entanto, ele nos diz que a trama trágica suscita duas emoções dolorosas –
piedade e temor – e, além disso, surte um prazer que lhe é próprio. A questão é
entender como estes dois opostos, prazer e dor, relacionam-se entre si e se no
esclarecimento dessa relação encontramos também pistas para interpretarmos a
catarse.<br>The PHD thesis presented here is a reflection on the problems of catharsis,
emotion and pleasure on Aristotle’s Poetics. In his work, the philosopher does not
define what he understands as tragic catharsis; nevertheless, he tells us that the
tragic framework arouses two painful emotions - pity and fear - besides
originating an inherent pleasure. The arising questions are: how can pleasure and
pain, being converses, relate and if on the event of this issue being clarified will
we provide hints for interpreting catharsis.
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Wenge, Matt. "Fearlessness the seventh element of drama." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5082.
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Aristotle proclaimed in his Poetics that there were six elements to drama: spectacle, music, diction, thought, character, and plot. This paper will analyze the play Thom Pain (based on nothing) against these six elements. I will discuss the aspects of each element that are present in the show as well as the ideas and concepts my director, Tad Ingram, and I brought to the show. Through the rehearsal and performance process I discovered a seventh element; the element of fearlessness. In his Poetics, Aristotle does not fully address what the actor brings to the performance and this aspect is just as important as what the script and staging bring to the performance.<br>ID: 029810021; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 50).<br>M.F.A.<br>Masters<br>Theatre<br>Arts and Humanities
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Cook, Elizabeth M. "The definition of katharsis in Aristotle's Poetics." Connect to resource, 2005. http://hdl.handle.net/1811/5885.
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Thesis (Honors)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages: contains 66 p. Includes bibliographical references (p. 65-66). Available online via Ohio State University's Knowledge Bank.
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Babcock, Kimberly John. "Modern Dramatic Tragedy and Aristotle's Poetics: A Comparison." W&M ScholarWorks, 1987. https://scholarworks.wm.edu/etd/1539625396.
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Guimarães, Deborah Vogelsanger. "O percurso do logos na "poetica" de Aristoteles." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281976.
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Previous issue date: 2002<br>Resumo: Neste trabalho será exposto o texto aristotélico "Sobre a Poética" , ao qual nos referiremos como "Poética", em especial nos capítulos 6,9 e 21 de maneira que, em conjunto com a exposição do Livro 11da "Retórica", também de Aristóteles, se possa responder a questão: de que maneira uma composição poética se aproxima de uma composição retórica no âmbito específico de seus conteúdos? A resposta a esta questão deve levar ao reconhecimento de um conteúdo ético para ambas as composições. O estudo dos dois textos deve servir, também, para aproximar a estudo da poesia ao estudo da lógica e da metafísica aristotélica, em
um retorno aos primeiros tradutores da "Poética", no século XVI<br>Abstract: Not informed.<br>Mestrado<br>Mestre em Filosofia
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Costa, César Vergara de Almeida Martins. "Direito e literatura: a compreensão do direito como escritura a partir da tragédia grega." Universidade do Vale do Rio do Sinos, 2008. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2434.
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Previous issue date: 29<br>Nenhuma<br>A presente dissertação tem por objetivo a afirmação do Direito como “escritura”, que é ao mesmo tempo transgressora e conservadora da tradição jurídica. Para tanto, parte-se da aproximação do direito à literatura, investigando-se, mais precisamente, as relações que se estabelecem entre a tragédia grega e o direito. Nessa senda, investiga-se o panorama geral em que se inserem os estudos que aproximam o direito da literatura e vice-versa, e visita-se a poética aristotélica para, então, examinarem-se as características do gênero e do homem trágicos. São investigados conceitos básicos da Grécia Antiga – os conceitos de physis, ethos, nomos, hamartia, hybris, themis e diké - e, então, a passagem das estruturas de pré-direito ao direito que se desvela nos mitos gregos e, por conseqüência, no gênero trágico, com base nos estudos de Louis Gernet e Vernant.vIdentificada, a partir da Poética Aristotélica, a mimesis ínsita à literatura, e, reconhecida a tragédia como evento que coincide com a afirmação da democracia gre<br>The main objective of the present dissertation is the affirmation of the Law as “scripture”, which is, at same time, transgressor and conservative of the juridical tradition. In order to state so, one has to approach the Law to the Literature, more precisely investigating the relations that have been established between the Greek tragedy and the Law. This way, one has to investigate the general panorama in which the studies that approximate law and literature (and vice-versa) are inserted, and the Aristotelic poetics is visited in order to allow the gender and the tragic man characteristics to be examined. Basic concepts of the ancient Grece are herewith investigated – such as physis, ethos, nomos, hamartia, hybris, themis e diké – as well as the passage of the pre-law structures to the law itself which are unveiled in the Greek myths and, consequently, in the tragic gender based on studies signed by Louis Gernet and Vernant. Identified since the Aristotelic poetics, the mimesis inserted into Literature, and
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Schirano, Cristiano. "L'equivoco del Commentatore. Averroè e il commento alla Poetica di Aristotele." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
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Averroè (1126-1198) è stato, di certo, uno dei filosofi musulmani più influenti nella storia del pensiero. Formatosi in diritto, astronomia, filosofia, matematica, teologia, è ospitato alla corte dei sovrani almohadi. Qui inizia la composizione di alcuni suoi trattati più celebri, come il Tahafut al-Tahafut ("L'Incoerenza dell'Incoerenza dei Filosofi"), e delle opere per le quali entrerà nella storia del pensiero: i commenti alle opere di Aristotele. Realizza, nella sua copiosa attività letteraria, tre tipi di commenti alle opere di Aristotele: i commenti brevi, o epitomi; i commenti medi; i commenti grandi. Fra questi, una delle opere insieme meno riuscite e più geniali è certo il commento medio alla Poetica di Aristotele. Averroè, infatti, deve cercare di "tradurre" da una cultura, come quella ellenica, a un'altra, come quella arabo-islamica, i maggiori concetti dello scritto dello Stagirita. Incontra, tuttavia, una serie di difficoltà quando s'accorge che è impossibile far comprendere ai suoi lettori i concetti di "tragedia" e di "commedia", in quanto sono forme di espressione assenti nella loro cultura. La tragedia diviene dunque la poesia encomiastica, l'encomio o laudatio; la commedia diviene la satira. Il fraintendimento di questi elementi cardine dello scritto di Aristotele ha diviso la critica: da un lato, chi considera quest'opera un fallimento, lontana dallo spirito aristotelico; dall'altro, chi ritiene che essa possa essere letta, logicamente, come un trattato di poetica araba, e, in questo, è un'opera assolutamente originale.
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Moraitou, Despina. "Die Äusserungen des Aristoteles über Dichter und Dichtung ausserhalb der Poetik /." Stuttgart : B. G. Teubner, 1994. http://catalogue.bnf.fr/ark:/12148/cb371097447.
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Texte remanié de: Diss.--Philosophische Fakultät--Köln--Universität, 1991.<br>Titre de couv. : "Aristoteles über Dichter und Dichtung" Notes contenant d'abondantes citations en grec. Bibliogr. p. 143-152. Index.
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Kyriakou, Poulheria. "Aristotle's "Poetics": its theoretical foundations and its reception in Hellenistic literary theory /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487864485228575.
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Harrison, Rowena Jane. "Recapturing Greek tragedy : Aristotelian principles in eighteenth-century opera and oratorio." Thesis, University of Newcastle Upon Tyne, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313236.
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Kappl, Brigitte. "Die Poetik des Aristoteles in der Dichtungstheorie des Cinquecento /." Berlin : de Gruyter, 2006. http://swbplus.bsz-bw.de/bsz258692073inh.pdf.
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Watson, Robert Stewart. "Richard Rorty, innovation strategies & movie inspiration." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41465/1/Robert_Watson_Thesis.pdf.
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Movie innovation is a conversation between screenwriters and producers in our mixed economy – a concept of innovation supported by Richard Rorty and Aristole's Poetics. During innovation conversations, inspired writers describe fresh movie actions to empathetic producers. Some inspired actions may confuse. Writers and producers use strategies to inquire about confusing actions. This Australian study redescribes 25 writer-producer strategies in the one place for the first time. It adds a new strategy. And, with more evidence than the current literature, it investigates writer inspiration, which drives film innovation. It reports inspiration in pioneering, verifiable detail.
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Lurje, Michael. "Die Suche nach der Schuld : Sophokles' Oedipus Rex, Aristoteles' Poetik und das Tragödienverständnis der Neuzeit /." München ; Leipzig : K. G. Saur, 2004. http://catalogue.bnf.fr/ark:/12148/cb39233455p.
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Magnoli, Bocchi Giovanni Battista. "Politica e storia nella "Retorica" di Aristotele : per un commento ad exempla historica." Thesis, Mulhouse, 2018. http://www.theses.fr/2018MULH1860.
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Le projet avait pour objectif d'étudier les contenus historiques des trois volumes de la Rhétorique d'Aristote. Comme il été souligné à juste titre à plusieurs reprises, le rapport entre le Stagirite et l'histoire est un domaine de recherche absolument profitable et qui a bénéficié d'une attention particulière de la part des historiens au cours des dix dernière années. Nous ne parlons pas de ce que dit Aristote directement de l'histoire, à partir du célèbre passage de la "Poétique", mais de l'usage qu'il fait, à des fins argumentatives, de plusieurs épisodes historiquement pertinents. Si, de fait, un jugement négatif vis-à-vis de l'Aristote «historique», issu des d'études de Wilamowitz, a largement influencé l'historiographie du XXe siècle, depuis quelques années, un travail ponctuel se poursuit pour redécouvrir le contenu historiquement intéressant de l'oeuvre du Stagirite. En effet, le philosophe se réfère souvent à des oeuvres perdues ou à la tradition directe, non seulement dans le cadre des disciples qui animaient l'Académie, établi par des Grecs aux origines le plus diverses, mais aussi dans celui de la culture athénienne au sens large. La rhétorique est de fait intrinsèquement liée à l'histoire politique de la cité, à ses lois, à ses constitutions et à la nécessité de persuader, véritable but de la "Rhétorique" aristotélicienne, qui se nourrit de tout cela. Ce corpus de données est donc un objet digne d'une grande attention, visant à le mettre «en sécurité» et à en dégager de façon pertinente le contenu «à travers» l'oeuvre d'Aristote. Avec des résultat très importants du point de vue historiographique<br>The project aimed to study the historical contents of the three volumes of Aristotle's Rhetoric. As has been rightly pointed out on several occasions, the relationship between Stagirite and history is an absolutely profitable field of research that has received special attention from historians over the past ten years. We do not speak of what Aristotle says directly from history, from the famous passage of Poetics,, but of the use he makes, for argumentative purposes, of several historically relevant episodes. If, in fact, a negative judgment with respect to the "historical" Aristotle, resulting from studies of Wilamowitz, largely influenced the historiography of the twentieth century, in recent years, a punctual work continues to rediscover the historically interesting content of the work of Stagirite. Indeed, the philosopher often refers to lost works or direct tradition, not only in the context of the disciples who animated the Academy, established by Greeks with the most diverse origins, but also in that of the Athenian culture at wider. Rhetoric is in fact intrinsically linked to the political history of the city, its laws, its constitutions and the need to persuade, the true goal of Aristotelian rhetoric, which feeds on all this. This corpus of data is therefore an object worthy of great attention, aiming at putting it "safe" and at releasing relevant content "through" the work of Aristotle. With very important results from the historiographical point of view
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Picardie, Michael. "Towards a philosophy of theatre inspired by Aristotle's poetics and post-structuralist aesthetics in relation to three South African plays." Thesis, University of South Wales, 2014. https://pure.southwales.ac.uk/en/studentthesis/towards-a-philosophy-of-theatre-inspired-by-aristotles-poetics-and-poststructuralist-aesthetics-in-relation-to-three-south-african-plays(031e80c8-04cc-4060-86df-770d67477b26).html.
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I have attempted a reading of Aristotle in terms of mimesis, ethos, mythos, lexis, hamartia, anagnorisis, peripeteia, catharsis and anamnesis - as an existential “being there” (Dasein) of the characters’ freedom and actual historicity - in three of my plays in which I performed or witnessed in productions in England, Wales, three Scandinavian countries, the U.S. and South Africa. I have analysed other Southern African “womanist” performative drama and feminist theatre. I assume with the ancient Greeks that in serious theatre there is theoria, an educated, discursive looking, which involves a dialectics of logos in dianoia intertwined in the mythos – ethical truth in the discourse of the plot. Whilst aesthetics cannot be reduced to psychobiography, creative writing is motivated in part by the author’s and the dramatic subjects’ psychoanalytically understood personal and political unconscious placed in the ethos – the character on the stage. The aesthetics of tragedy relate to both peripeteia (reversals) and anagnorisis (recognition of responsibility) which occur within an arc of development, crisis and denouement of the vicissitudes of purported wisdom in understanding how performative drama and critical theatre have been presented in what has become known as The Struggle in a post-apartheid South Africa and post-colonial Zimbabwe by comparison with historical conditions in South America, India, even China. The values of nous, phronesis and sophia, intuitive, practical and interpretative wisdom are connected to the Nicomachean and Eudemian Ethics with which the tragic-comic hero and his Other are imbued or violate. The post-structuralist aesthetic as developed in the literary theory of the twentieth century is essentially the interaction of synchronic and diachronic language emerging from the signifiance and the semiosis of the chora (the feminine or maternal unconscious) within the de-familarisation techniques of Russian and Czech Formalism. This provides a creative and meaningful limit to a consciousness of being-white and beingblack- in-the-world against disempowering Nothingness or perceived Otherness threatening moral beings. Nothingness and the Other are characterised magically and as witch-craft in oral-cultures which deny the unconscious and resort to paranoia and persecution of Otherness in the subject projected onto the other – the “colonial personality”. Shades of Brown has been re-written as Jannie Veldsman – A Film 8 Scenario and I have incorporated into a revised The Cape Orchard a retrospective anticipation of the coming of the new South Africa. I reflect on what tragic drama on the stage and in real life in South Africa means now that the new South Africa is over its honeymoon period and faces serious problems of failed governance. Within the dialectic of an enlightened rabbinical morality of Hillel the Elder (“What is hateful to you do not do to others….” and “If I am not for myself who will be for me…?”) and Kant’s categorical imperative of human beings as a priori ends, I follow the fortunes of an old Jewish veteran of The Struggle, dating back to the Defiance Campaign of 1952/3. Fugard’s work is exemplary in fostering a sense of Sartre’s Nothingness and nihilation which “haunts” Being and is the space of undecidability in relation to my condition of freedom allowing the transcendence of Being. Being asserts reparation and redemption in the face of the depressive and paranoid subject/object split in the subject’s being-in-the-world. Plays ideally submerge this existentialist, psychoanalytic and Aristotelian dramaturgy in the form of Kierkegaard’s faith and Nietzsche’s will which are part of the Encompassing in Karl Jasper’s metaphysics - the residue of a Judaeo-Christian ethics facing the anomie and aporia of the postmodern. The new South Africa was only ostensibly built on Greek and Judaeo- Christian secular ethics – “truth and reconciliation”. It inherited state, revolutionary and criminal violence, as well as a sophisticated economic infrastructure, masspoverty and a segregated educational, social and welfare system which in the milieu of ANC incompetence and corruption have for the very poor got worse but to the benefit of a new African oligarchy, the beneficiaries of a dysfunctional affirmative action policy. What is to be done? Irigaray’s striking metaphor “the speculum of the Other woman” suggests that we are reflected by the instrument we use for investigating what may be Other to us: “we” are westerners trying to live in Africa. “We” are Other – not as autochthonous as the African majority. But the autochthonous can also behave as Other and may even fail to recognise the Other in themselves. Franz Fanon’s “colonial personality”, like ex-president Thabo Mbeki, misunderstands the colonial Other in himself which, disastrously, he projects and attacks in the imaginary and persecutory Other, only to suffer the return of the Real, as do the dramatic fictions Van Tonder in Shades of Brown, Dianne Cupido in The Cape Orchard and Harry Grossman the old man’s son in The Zulu and the Zeide (inspired by a short story by Dan Jacobson). 9 The Russian and Czech Formalists and Structuralists show us how to foreground the Real through techniques of de-familiarisation which can be applied to modernist and post-modernist “womanist” performance drama and feminist theatre. Defamilarisation, especially in an Africa struggling between failed and successful colonialism and often ruled by more or less corrupt elites, sensitizes us to a moral nihilism which characterises the failed African state - described by Conrad as a “heart of darkness” transcended in aletheia – being oneself in the self-showing light of one’s ethos operating through a personal and political unconscious mystified in the rhetoric of oral-cultures. Playwrights such as Yael Farber, Fraser Grace, Aletta Bezuidenhout and Fatima Dike express a semiosis of the unconscious and the signifiance and “absurdity” of logos suggesting that all is not lost in post-apartheid Southern Africa as regards human values, whilst struggling with the political correctness demanded in The Struggle. A partially successful colonialism in parts of Africa could within a British education system, produce a Wole Soyinka who transcends the propaganda of agit-prop by showing the parabolic arc of tragedy afflicted with peripeteia. The weight of African backwardness is not only the negative heritage of colonialism and slavery but Africa’s immersion in traditional partially modernised, but still patriarchal, often tribally and religiously split oral-cultures. These enable the colonial personality to unconsciously or opportunistically exploit his paranoiac sense of his victimage at the expense of the writing-cultures of development which entail anamnesis and the redemption through anagnorisis.
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Khovacs, Ivan Patricio Morillo. "Divine reckonings in profane spaces : towards a theological dramaturgy for theatre, with special reference to the theo-drama of Hans Urs von Balthasar." Thesis, University of St Andrews, 2007. http://hdl.handle.net/10023/329.
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If from God’s perspective ‘all the world’s a stage’, theology invites one to think and act according to the view afforded from this height. To speak theologically of a ‘world stage’ as many contemporary theologians have done has required rethinking the Church’s long-established antagonism towards the stage. Of late, theology has opened up academic exchange with the drama’s understanding of ‘the great theatre of the world’. Hans Urs von Balthasar’s theo-drama in particular has given Christians a means for entering into discussion with dramatic forms. Contemporary theological engagements with ‘drama’, however, have been limited to its most literary/metaphorical aspects; less attention has been paid to the potentialities in theology’s exchange with the performance aesthetics of live theatre. Pressed to its logical ends, however, von Balthasar’s idea of a ‘theological dramatics’ and its advances made in contemporary theology, suggest the need for sustained engagement with other modes of dramaturgy, including performance theory and the stage. This thesis attempts to instantiate this theological engagement through the aesthetics of theatrical performance.
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Poujade, Baltazard Sylvaine. "Francisci Robortelli Vtinensis in librum Aristotelis De arte poetica explicationes : introduction, édition, traduction." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20069.
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Ce travail présente une édition et une traduction de l'ouvrage d’une des figures marquantes de l’humanisme italien de la Renaissance, Francesco Robortello, intitulé Francisci Robortelli Vtinensis in librum Aristotelis De arte poetice explicationes. Il s'agit du premier commentaire à être publié de la Poétique d'Aristote. L'ouvrage paraît à Florence en 1548, et fait l’objet d’une deuxième édition, révisée par ses soins, à Bâle en 1555 : le commentaire est précédé du texte grec de l’édition aldine des Rhetores Graeci de 1508, accompagné d'une traduction latine d’Alessandro Pazzi qui date de 1536. Robortello est à l'origine de la redécouverte, voire de la découverte en Italie des analyses aristotéliciennes sur l'art poétique, texte difficile qu'il cherche à rendre accessible aux lettrés de son époque. Cette étude a consisté à établir le texte par la confrontation des deux imprimés de Florence et de Bâle, et permet, en découvrant l’ensemble des analyses de l’auteur, de montrer que cecommentaire, loin d’être une interprétation erronée du texte d’Aristote, est une première lecture sur la voie de notre compréhension moderne des lois de la création poétique<br>This work is an edition and a translation in French of Robortello’s text untitled Francisci Robortelli Vtinensis in librum Aristotelis De arte poetice explicationes. It is the first published commentary on the Poetics, edited in 1548 in Florence, and revised for a second edition in Basel in 1555. The book contains an edition of the Greek text of the Poetics, based onthat of Aldine edition of 1508, but with several emendations, followed by Pazzi’s Latin translation dated from 1536, and his own commentary. This study, by discovering the whole of the author's analyzes, shows that this comment, far from being anerroneous interpretation of Aristotle's text, is a first reading on the path of our modern understanding of the laws of poetic creation
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Le, touze Anna. "Francisci Robortelli Vtinensis paraphrasis in libellum Horatii qui vulgo de arte poetica inscribitur : introduction, édition, traduction annotée." Thesis, Rennes 2, 2021. https://tel.archives-ouvertes.fr/tel-03248316.
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Ce travail présente une édition et une traduction annotée de la paraphrase à l’Art poétique d’Horace de Francesco Robortello, philologue de la Renaissance célèbre pour son commentaire à la Poétique d’Aristote. La paraphrase paraît en 1548 à Florence, au sein du volume qui contient le commentaire à Aristote. Elle est rééditée à Bâle en 1555 avec le commentaire à la Poétique. Cette paraphrase prend place au sein de la nébuleuse des commentaires à l’Art poétique d’Horace qui se multiplient à la Renaissance. Cette étude montre que la paraphrase de Robortello s’inscrit dans une tradition du commentaire qui remonte à l’Antiquité et qu’elle se distingue des autres commentaires humanistes par sa forme et par l’intégration de nombreuses références à la Poétique d’Aristote<br>This work consists of an edition and a translation with commentary of the paraphrase to Horace's Art of Poetry by Francesco Robortello, a Renaissance philologist famous for his commentary on Aristotle's Poetics. The paraphrase was published in 1548, in Florence, and belongs to a volume that contains the commentary on Aristotle. It was published again in Basel in 1555 with the commentary on Aristotle's Poetics. This paraphrase is part of the myriad of commentaries on Horace's Art of Poetry that proliferated during the Renaissance. This study shows that Robortello’s paraphrase is part of a tradition of commentary that goes back to Antiquity and that it differs from other humanistic commentaries by its form and by its many references to Aristotle’s Poetics
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Zanin, Enrica. "Fins tragiques : poétique et éthique du dénouement dans la tragédie pré-moderne en Italie, en France et en Espagne." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040234/document.
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La poétique du dénouement pré-moderne, dans les tragédies italiennes, françaises et espagnoles, est liée à un souci éthique: la fin de l'intrigue est le lieu attendu qui en dévoile le sens et qui dit sa morale. Or, le dénouement tragique répond à une double exigence: s'il conclut la tragédie, il doit aussi renverser le sort du héros. Pour achever la tragédie, le dénouement doit réaliser un équilibre moral; pour renverser l'intrigue, il doit susciter un excès pathétique. Ces deux exigences sont issues de deux modèles théoriques opposés: la logique de l'exemplarité et l'efficacité pathétique. La thèse analyse les stratégies poétiques que théoriciens et dramaturges mettent en place pour concilier ces deux modèles poétiques, au sein des trois critères qui définissent le dénouement (son orientation, ses modalités et sa structure) et des problèmes éthiques qu'ils posent (l'enchaînement de la causalité, la faute et la rétribution du héros). Les efforts pour concilier exemplarité et pathétique se soldent par un échec. En dépit de leurs différences, les trois traditions nationales dénoncent les faiblesses de la logique de l'exemplarité, qui ne permet pas de justifier, par une règle de conduite universelle, l'expérience du malheur, du désordre, de l'injustice. Le dénouement tragique incite alors le spectateur à un déchiffrement herméneutique pour trouver des raisons à la misère inexplicable du héros, que manifeste le renversement de fortune<br>The poetics of early modern denouement in Italian, Spanish and French tragedies implies an ethical issue. The ending of the plot is the expected climax which reveals the meaning and the moral of the story. The aim of the tragic denouement is twofold: it concludes the play and it reverses the hero's fate. In order to conclude the tragedy, the denouement restores a moral balance; in order to reverse the plot, it gives rise to a pathetic excess. Two divergent theoretical models underlie this dual requirement: the logic of exemplarity and the poetics of pathos. I propose to examine the strategies displayed by theorists and dramatists in order to bring together these two theoretical models. I therefore consider the three main features of the denouement (its direction, mode and structure) and the ethical issues to which they give rise (the sequence of causality, the tragic flaw and its atonement). The conciliation between exemplarity and pathos proves an impossibility: Italian, Spanish and French tragedy, despite their differences, denounce the logic of exemplarity as inadequate and unfit to justify, through the expression of a theoretical rule, the experience of misfortune, injustice and chaos. The tragic denouement leads the spectator to a hermeneutic deciphering that may uncover the reasons for the hero's inexplicable misfortunes
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Gorgoni, Francesca. "La traduction hébraïque du Commentaire Moyen d’Averroès à la Poétique d’Aristote : étude, édition du texte hébreu et traduction française avec glossaire hébreu-arabe-français." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF007/document.
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Todros ben Meschoullam den David Todrosi (Arles 1314- ?) traducteur à Arles, de 1330 à 1340, est un des derniers protagonistes du mouvement de traduction de l’arabe à l’hébreu qui caractérise l’histoire intellectuelle juive en Provence au Moyen-Âge. L’édition que nous proposons ici, est sa traduction hébraïque du Commentaire Moyen d’Averroès à la Poétique d’Aristote comparé avec le texte arabe de départ et traduite, pour la première fois, en langue française. L’analyse comparée du corpus oriental du Commentaire a été d’une grande importance pour saisir les spécificités intrinsèques de la traduction hébraïque de Todrosi. La thèse comprend, l’étude du contexte philosophique dont Todros Todrosi a travaillé, l’étude de la version hébraïque du Commentaire, ainsi si que son édition accompagnée par et l’analyse paléographique et codicologique des manuscrits hébreux<br>Todros Meshullam ben David den Todrosi (Arles 1314-?) Translator in Arles between 1330 and 1340, is one of the last translators who took part to the Arabic translation movement that characterizes Hebrew Jewish intellectual history in Provence in the Middle Age. The critical edition we propose here is the Hebrew translation of the Middle Commentary of Averroes on Aristotle’s Poetics, compared with the Arabic text and translated for the first time in French. A Comparative analysis of the oriental corpus of the Commentary enable us to grasp the intrinsic characteristics of the Hebrew translation of Todrosi and the particular context in which the translation was done. The thesis includes the study of the intellectual context in which Todros Todrosi worked, the study of the Hebrew version of the comment, and if his edition accompanied by analysis and paleographic codicological and Hebrew manuscripts
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Hatakeyama, Kana. "La faute dans la tragédie française du XVIIe siècle." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30007.
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Cette thèse a pour objectif d’étudier la tragédie du XVIIe siècle en France avec la notion de faute tragique, hamartia, et de montrer l’originalité et la diversité des tragédies classiques. Commentée dans la Poétique d’Aristote, l’hamartia se définit comme une notion médiane entre un délit volontaire et une malchance. Coupable d’une hamartia, le héros n’en est pas pour autant entièrement responsable malgré sa prise d’initiative, dans la mesure où la faute n’est pas due à l’intention perverse. Parce que le malheur déclenché par une hamartia, apparaît disproportionné à l’intention du coupable, les spectateurs éprouvent de la compassion envers le héros infortuné. Dans la mesure où la compassion est une des émotions essentielles de la tragédie au même titre que la terreur – en effet, la catharsis consiste en l’épuration de ces émotions –, la faute tragique constitue à cet égard un des composants sine qua non de la tragédie. Mais arrivée au XVIIe siècle en France, la faute garde-t-elle le même statut ? Pour répondre à cette question, nous examinons les tragédies de sept dramaturges, Alexandre Hardy, Pierre Du Ryer, Jean Rotrou, Tristan L’Hermite, Pierre Corneille, Jean Racine et Jean-Galbert de Campistron, ce qui permet d’étudier le XVIIe siècle en entier. Le premier chapitre sera consacré à l’examen de la notion de faute dans les écrits théoriques. Dans le deuxième chapitre, nous nous intéresserons à la fabrique du héros coupable. Le troisième chapitre portera sur la nature de la faute. Et nous étudierons, dans le quatrième chapitre, le statut de la faute sur le plan dramaturgique, avant d’examiner, dans le dernier chapitre, les problèmes moraux. Ce travail révèlera l’importance de la Poétique d’Aristote dans la tragédie du XVIIe siècle en France<br>The purpose of this doctoral thesis is to study the French tragedy in the seventeenth century researching into the notion of tragic flaw, hamartia, and to show the originality and the diversity of the French classical tragedy. This notion, commented by Aristotle in "Poetics" originally differs from either an intentional crime or an accidental one. The tragic flaw presupposes the participation of an agent without denying the presence of fortuity. Although a tragic hero is responsible for his misfortune, as it proceeded from his fault, the result exceeds his intention. And this disparity between intention and misfortune makes the audience feel compassion for the hero suffering from his misfortune. If this compassion is one of the emotions caused only by tragedies, the tragic flaw constitutes in this respect an essential element of tragedy. But is the concept of fault identical in the Christendom society of the seventeenth century? To answer this question, I deal with the tragedies of seven dramaturges, Alexandre Hardy, Pierre Du Ryer, Jean Rotrou, Tristan L’Hermite, Pierre Corneille, Jean Racine and Jean-Galbert de Campistron, to cover the seventeenth century. In the first section of this work, I examine the notion of fault in the theoretical texts. The second section consists in studying the tragic figure. The third section is about the nature of the fault, the private fault and the politic fault. The fourth section concerns the status of fault on the dramaturgical level, before examining moral questions in the final section. This work reveals the importance of Aristotle’s Poetics in the French tragedy of the seventeenth century
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Bouchard, Elsa. "De la poétique à la critique : l’influence péripatéticienne chez Aristarque." Thèse, 2012. http://hdl.handle.net/1866/8570.
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Cette thèse vise à suggérer l’existence d’un partage d’une théorie poétique commune entre l’école d’Aristote d’une part et le grammairien Aristarque de Samothrace d’autre part. À partir d’un examen des textes et des fragments de la critique littéraire hellénistique, deux aspects fondamentaux de la poétique péripatéticienne font l’objet d’une comparaison avec Aristarque, soit : 1) la prise de position interprétative qui tient compte de la nature fictionnelle du discours poétique et le soustrait aux critères de vérité traditionnellement imposés par les lecteurs anciens, notamment à l’intérieur de la tradition allégorique ; et 2) la reconnaissance de l’autonomie relative du contenu de l’œuvre poétique face à l’auteur, particulièrement dans le rapport qu’entretient ce dernier avec ses personnages.<br>This thesis sets out to examine two points of contact in the poetics of the Peripatetics and Aristarchus, namely : 1) the exegetical attitude that takes account of the fictionality of poetry, thus exempting it from the constraints of truthfulness that ancient readers traditionally imposed on it, especially within the allegorical tradition; 2) the perception of the content of a work of poetry as being autonomous from its author, especially with regard to the relation between the poet and his characters.<br>Thèse réalisée en cotutelle avec l'Université Paris IV-Sorbonne
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Petra, O'Toole. "Das Mögliche, Das Wirkliche Und Das Unmögliche: Three Concepts Of Poetics." 2013. http://hdl.handle.net/10222/36263.
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This thesis presents a historical analysis of literature through the intriguing (but often overlooked) overarching concepts of art –“das Mögliche”, “das Wirkliche” and “das Unmögliche”– and the changes in the historical orientations they represent. Each concept is demonstrated through the exploration of three key texts. The first text addressed in this thesis is Aristotle’s Poetics and the realm of the “Mögliche” he founded within his argument. The second concept, the “Wirkliche”, was inspired by the German Sturm und Drang writer J.M.R. Lenz and his text Anmerkungen übers Theater. Oscar Wilde’s dialogue “The Decay of Lying” summarizes the third and final concept discussed within this thesis, the “Unmögliche”. His desire for art to be unreal represents the accumulation of German Romantic thought and Oriental influence on Western Art. Through the contexts of these three categories and their texts we can obtain a more accurate understanding of the foundations and possibilities of art.
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Poley, Danen. "FORESTS FULL OF BEASTS: ARISTOTELIAN ANALYSES OF ANTINOMIAN MADNESS IN 'KING LEAR' AND 'TIMON OF ATHENS'." Thesis, 2012. http://hdl.handle.net/10222/15404.
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"Forests Full of Beasts" analyzes late-Shakespearean thought as represented in "Timon of Athens" and "King Lear," focusing on expressions of madness. Applying an Aristotelian framework, each chapter examines the two plays through a different lens, applying the "Nicomachean Ethics," "Politics" and "Poetics" in turn. Looking at these plays through the "Ethic"s shows that Timon and Lear miss the mark of happiness through excessive action, and their madness is therefore construed as deliberately maintaining unsustainable behaviour. The Politics foregrounds humanity's social nature, and it is in their rejection of society's provisions and friendship that Timon and Lear are seen to be most mad. Following the Poetics' prioritization of plot, both plays are analyzed in terms of the unified whole, and their madness is seen as seamlessly interwoven with the overall action. The conclusion ties these analyses together, understanding Timon's and Lear's madness as the deliberate choice to pursue excessive, antisocial behaviour.
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Potter, Lucy. "Re-reading Marlowe’s Dido and its influence." Thesis, 2008. http://hdl.handle.net/2440/77319.
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Over the last 30 years, a number of critics have sought to rescue Christopher Marlowe’s Tragedy of Dido, Queen of Carthage from its status as an apprentice work. These attempts have produced two, equally dominant strands of criticism: the first attributes importance to the play’s comic elements; the second attributes importance to the influence of non-Virgilian traditions of the Dido and Aeneas story. Both critical strands find Dido’s treatment of the Aeneid largely incompatible with the idea that the play is a tragedy.
This thesis suggests an alternative, new approach to Dido, one that is based on rereading the play in the light of the currency of Aristotle’s Poetics in the period. My main aim is to demonstrate that Dido is a serious exercise in generic transformation. I argue that the play enacts two interpretations of Aristotle’s theory of catharsis, the therapeutic and the structural, to “translate” the entire Aeneid as a tragedy and promote the authority of Virgil’s epic in the emerging genre of Elizabethan tragedy. The mobilization of these interpretations of catharsis works to construct an ideal audience for tragedy. Marlowe’s authorial aspiration, I suggest, is to overtake Virgil by attempting to end the Aeneid, which, in the period, was sometimes considered narratively incomplete. In the process of generic translation, Dido becomes a “modernized” Poetics, an English Renaissance tragedy that defends tragedy.
Dido appears to have been a box-office flop. How did Marlowe respond to the failure of his first play? The thesis examines Marlowe’s next plays, Tamburlaine the Great 1 & 2, in the light of Dido’s lack of success. I suggest that the failure of his first play prompted Marlowe to reconsider his aesthetic practice in the Tamburlaine plays, in particular the role that catharsis plays in Dido. The Tamburlaine plays revise the sense of the tragic that Dido enacts, liberating Marlowe’s aesthetic from the theory that underpins his first play. In the conclusion, I track the influence of this liberated aesthetic in other Marlowe plays, and in Hamlet.
Critics agree that the Tamburlaine plays exemplify and enabled a new kind of tragedy in the period. I argue that the plays’ revision of Dido was crucial to the aesthetic that liberated the drama and audiences of early modern England from the restrictions that theories of tragedy’s function placed upon them both.
Re-reading Dido invites us to reconsider the place of Marlowe’s first play in early modern literary theorizing, and indeed, in the critical history of catharsis. Re-reading Dido’s influence invites us to reconsider the ways in which the play contributed to the Marlovian dramatic canon, and the nature and development of English Renaissance tragedy.<br>Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2008
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Peña, Laguna Luis Ernesto. "Influence de quelques notions de dramaturgie d’Aristote dans mes compositions musicales." Thèse, 2017. http://hdl.handle.net/1866/19849.
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Κατάρα, Δήμητρα. "Μῦθος, λόγος, ὅμοιος και ἐπιεικής : παρατηρήσεις για τη χρήση της ορολογίας στην "Ποιητική" του Αριστοτέλη". Thesis, 2010. http://nemertes.lis.upatras.gr/jspui/handle/10889/4636.
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Eξέταση της χρήσης των λέξεων μῦθος, λόγος, ὅμοιος και ἐπιεικής στην Ποιητική του Αριστοτέλη. Παρουσίαση των τρόπων με τους οποίους ερμηνεύονται οι παραπάνω όροι και προσπάθεια επίλυσης των προβλημάτων που δημιουργεί η χρήση των όρων αυτών μέσα από τη διατύπωση σχετικών παρατηρήσεων. Μελέτη των σχέσεων μεταξύ των ουσιαστικών μῦθος και λόγος καθώς και προσπάθεια διευκρίνισης της σημασίας των επιθέτων ὅμοιος και ἐπιεικής στα κεφάλαια 2, 13 και 15 της Ποιητικής με βάση τη σύγκριση μεταξύ ζωγραφικής και ποίησης.<br>In the present study, we examine, to a greater or lesser extent, the terms mythos, logos, homoios and epieikēs as used in Aristotle’s Poetics. The aim of this short survey is primarily to present several interpretations of what Aristotle means by mythos, logos, homoios and epieikēs, proposed by some scholars, before attempting to solve the problems which the use of the aforementioned terms causes by making a few relevant remarks. Regarding the first two terms mentioned above, we inquire into the relationship between these terms as well as the relationship between the concepts which are signified by them, while, concerning the terms homoios and epieikēs, we mainly attempt to clarify the meaning of these particular adjectives in chapters 2, 13 and 15 of the Poetics, taking into account the comparison of poetry to painting, made in some interesting passages of the treatise. Our approach to the core of the problem is based, in any case, on the Aristotelian belief that, as regards the scientific thought, it is essential that one should perceive the similarities of things, which, however, differ much from each other.
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Goossen, Jonathan. "Jonson's and Shakespeare's "Comedy of Affliction"." 2011. http://hdl.handle.net/10222/14178.
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This dissertation explores the relevance of recent studies of Aristotle’s comic theory to the central dramatists of early modern England, Ben Jonson and William Shakespeare. Applications of the Poetics to Renaissance English drama tend to treat Aristotle’s theory historically, as a set of concepts mediated to England by continental redactions. But these often conflated the Poetics’ focus on literary form with the Renaissance’s predominant interest in literature’s rhetorical effect, reducing Aristotle’s genuinely speculative theory to a series of often pedantic literary prescriptions. Recent scholarship has both undone these misinterpretations and developed the comic theory latent in the Poetics. Ironically, these studies make Jonson’s and Shakespeare’s comedy look much more Aristotelian than do Renaissance ones. So rather than taking the Poetics simply as a possible source for each dramatist, I read it primarily as a literary theory that, when reinvigorated by modern scholarship, can explain structures and effects arrived at practically by these dramatists.
Three recent hypotheses are especially pertinent to Jonson and Shakespeare: that comic hoaxes aim to expose comic error, which is for Aristotle a deviation from the mean of virtue; that “righteous indignation” is the comic emotion equivalent to the “pity and fear” of tragedy; and that catharsis is a clarification, rather than purgation, of reason and emotion. In light of these, I offer detailed readings of four plays that demonstrate these authors’ comic range: from Jonson’s satirical Every Man Out of His Humour to the almost farcical Epicoene, and from Shakespeare’s romantic Much Ado About Nothing to the tragicomic Measure for Measure. These plays demonstrate a variety of ways in which catharsis, the end of drama, results directly from the comic hoax and involves both the audience’s and characters’ experience of indignation and their comprehension of its relationship to the emotions of envy and pity. In each case, Aristotle’s incisive but flexible theoretical framework enables an explanation of the emotional pain present in the these “comedies of affliction” and reveals remarkable similarities between dramatists usually described as direct opposites.
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"Mimesis and cognitive pleasure in aristotle's poetics." Tese, MAXWELL, 2005. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=7209:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
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Teng, Kuang-Chih, and 鄧光志. "On the Conception of Catharsis in Aristotle’s Poetics." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/58982157758483383808.
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"Poetica de Aristoteles : tradução e notas." Tese, Biblioteca Digital da Unicamp, 2006. http://libdigi.unicamp.br/document/?code=vtls000391795.
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"Ousia And Tragedy An Ontological Approach To Aristotle's Poetics." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/2/12605264/index.pdf.
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"A reflection on the concept of mimesis and tragic action in aristotle's poetics." Tese, MAXWELL, 2004. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=4749:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
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Baker, Stephanie A. "Zidane in Tartarus : a neoAristotelian inquiry into the emotional dimension of kathartic recognition." Thesis, 2010. http://handle.uws.edu.au:8081/1959.7/487617.
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Katharsis occupies an important place in the social imagination as a mode of emotional clarification. It was the term used by Aristotle in the Poetics, where he argued that through observing tragedy audiences could experience kathartic recognition by affectively rationalising the events constituting mythos (the tragic plot) in a process synonymous with feeling-realisation. Research on katharsis has generally fallen into disrepute following various interdisciplinary interpretations, cultural changes and the term’s common conflation with Freud’s hydraulic theory of emotional repression. While Attic tragedy has lost the prominence it formerly held in ancient Greece, it has been replaced to a large extent by manifestations of ‘the tragic’ in contemporary scandals which are played out in popular culture and mediated for public consumption. It is in this context that Zinédine Zidane’s World Cup sporting scandal will be explored, not merely as a personal tragedy for the French footballer or confined to the domain of sport, but rather from a sociological perspective with regard to the civic implications that his ‘tragic’ coup de tête afforded - a social tragedy with consequences for those members of society with symbolic investments in his-story. This thesis will draw upon Zidane’s transgression as a case study through which sociological accounts of emotions, namely pragmatic and Durkheimian contributions, are employed as means of amplifying Aristotle’s account of katharsis and the broader social significance of tragic mythos in contemporary life. An analysis of katharsis requires a reconsideration of tragedy’s primary component - mythos. Corresponding to Enlightenment principles, the emotional foundation of mythos has engendered much scrutiny in the climate of rationalism permeating the modern Western world. This thesis proposes a novel way of understanding mythos. Applying Aristotle’s kathartic paradigm to Zidane’s scandal, it is suggested that this contemporary manifestation of ‘the tragic’ presents a lens through which to examine mythos as a form of rational inquiry. Despite the fact that tragic instruction was inexorably politicised in antiquity and, therefore, susceptible to operating as a mechanism of social control, it would be an oversimplification to reduce mythos to rhetorical modes of persuasion. The tendency to conflate mythos with political ideology points to an important distinction between what is referred to in this thesis as a social myth and mythos – the former operating as a common referent and ideological framework through which the conscience collective is solidified around Durkheimian feelings of collective effervescence, while the latter is conceptualised as a heterogeneous, metaphorical construction through which the very foundation of social myths may be examined, challenged and revised. Such an understanding moves beyond the popular conflation of mythos with fabrication; emphasising the significance of the ways in which this social phenomenon is communicated, symbolically contested and affectively rationalised in the public domain. A re-evaluation of katharsis has implications for the way in which emotions are more generally conceptualised. The problem with conventional theories of emotion are that they maintain a misleading dichotomy between thought and emotion, derived from a limited understanding of rationality that couples cognition with reason over emotion as appetite, polarising mythos and logos. Contrary to such Neoplatonic views, which consider emotions to be impediments to ‘critical’ faculties and the objectivity demanded of scientific thought, the emotional foundation of mythos is understood as not only susceptible to reason but intrinsically rational. Moreover, the orthodox notion that emotions are essential to well-being emerges from an established tradition of Aristotelian ethics. Despite significant differences between Aristotelian and contemporary notions of ‘emotional intelligence,’ corresponding to a series of broader historical developments from the Greek’s moral concern with ‘being good’ to modern psychology’s quest to ‘feel good,’ both emphasise the instrumental role that emotions play in sustaining well-being. It is suggested that, by excavating the mythic heritage of katharsis, mythos may be restored as a valuable apparatus of critical inquiry which recognises the broader social implications of the ways in which ‘the tragic’ is represented in the public domain.
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Kramar, Natalia. "La forme du dialogue chez Platon : une étude « poétique » du Phédon." Thèse, 2016. http://hdl.handle.net/1866/18790.
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Le présent mémoire, qui s’inscrit dans l’approche dialogique des études platoniciennes, vise à expliciter la notion de forme du dialogue chez Platon, et ce, par le biais d’une analyse « poétique » du Phédon. Dans un premier temps, une définition provisoire et approximative de cette notion sera formulée à la suite de l’examen de ses significations dans les travaux des auteurs du courant dialogique : la forme du dialogue est une forme littéraire, poétique ou dramatique, conçue comme une totalité formée de parties, gouvernée par la « nécessité logographique » et ayant une structure telle que les éléments les plus importants du dialogue figurent en son centre (en anglais : “pedimental” structure). Dans un deuxième temps, il s’agira de préciser davantage ce en quoi consiste cette forme, en posant – et en faisant une tentative de justifier – la possibilité de l’examiner sous l’angle de la Poétique d’Aristote (qui porte essentiellement sur la tragédie). Enfin, l’analyse du Phédon à partir de la Poétique aristotélicienne révèlera la forme de ce dialogue comme une forme « pédimentale » dynamique, composée de trois mouvements, traduisant – mieux, « mettant sous les yeux » – le mouvement de la pensée de Socrate (c’est-à-dire, de son âme, quintessentiellement rationnelle) en train d’élaborer la méthode d’hypothèses, et, plus généralement, une théorie de la science. Ce sont : 1) le mouvement ascendant, préscientifique, de la première partie, 2) le mouvement de retournement et de révolution « théorique » dans la partie centrale, 3) le mouvement descendant, déductif ou scientifique, de la troisième partie.<br>This master’s thesis, which adopts the dialogical approach to Plato studies, aims to clarify the concept of Plato’s dialogue form by means of a “poetic” analysis of the Phaedo. Firstly, after having studied the meanings of the notion of dialogue form in a range of studies that fall within the dialogical approach framework, we propose a provisional definition of the dialogue form: it is a poetic, literary or dramatic form, designed as a whole composed of parts, governed by the “logographic necessity”, and characterized by a “pedimental” structure (a structure in which the most important things are put in the centre, by analogy with the figures that are arranged in the triangular pediment of a Greek temple). Secondly, having supposed that this notion could be further clarified by applying Aristotle’s analysis of tragedy in the Poetics to Plato’s dialogues, we attempt to justify this application. Finally, the analysis of the Phaedo from Aristotle’s “poetic” perspective reveals this dialogue’s “pedimental” dynamic form, which is organized in three movements and seems to translate – or “visualize” – the movement of Socrates’ thought (i.e. of his quintessentially rational soul) while constructing the method of hypotheses, and, more generally, a theory of science. The three movements comprise: 1) the upward (pre-scientific) movement of the first part, 2) the “theoretical” mouvement (turning and revolution) of the central part, and 3) the downward (deductive or scientific) movement of the third part.
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Κουλουμπής, Φώτιος. "Το 25ο κεφάλαιο της "Ποιητικής" του Αριστοτέλη και τα "Ομηρικά Απορήματα"". Thesis, 2001. http://nemertes.lis.upatras.gr/jspui/handle/10889/4296.
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Ο Αριστοτέλης μετά την πραγμάτευση της ποίησης και του έπους στην Ποιητική του, προσθέτει ένα κεφάλαιο – το 25ο – όπου πραγματεύεται το ειδικό θέμα των αντιρρήσεων που εκδήλωσαν ορισμένοι κριτικοί ενάντια στην ποίηση την ομηρική και το θέμα των αρχών πάνω στις οποίες θα βασισθούν οι απαντήσεις προς τους κριτικούς του Ομήρου. Η ύπαρξη ενός τέτοιου κεφαλαίου κρίνεται ως χρήσιμη καθώς αντικείμενο της ποίησης δεν αποτελεί μόνο η διδαχή της φύσης της ποίησης, αλλά, επίσης, η ορθή κριτική των ποιητικών έργων.
Οι λανθασμένες ερμηνείες πολλών αμφίβολων αποσπασμάτων αυτού του κεφαλαίου οφείλονται στo ότι δεν λαμβάνονται υπόψη από τους κριτικούς του Ομήρου τα Πορφύρια ζητήματα (σχόλια), τα οποία περιλαμβάνουν τα ομηρικά προβλήματα του Αριστοτέλη και των μεταγενέστερων Περιπατητικών.<br>Aristotle interpretating Homer defends him from Homer's opponents and accusers.
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Kaňková, Markéta. "Lars von Trier na českých jevištích: divadelní adaptace a jejich filmové předobrazy." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-322084.
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This thesis concentrates on the phenomenon of theatre adaptation of films in context of czech contemporary theatre. It's goal is - on examples of theatre transcriptions of Lars von Trier's films - to capture and describe difficult process of adaptation, which is wageing during the transformation of films and film texts into their theatre versions. During the process of analyses, we will try to trace not only the concrete transfigurations, but to name possible approaches and techniques revelating during the act of adaptation.
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Šuman, Záviš. "Konceptualizace mores v dramatickém básnictví. Studie o poetice francouzské tragédie v 17. století." Doctoral thesis, 2013. http://www.nusl.cz/ntk/nusl-322575.
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214 Abstract Conceptualization of Mores in Seventeenth-Century French Tragedy This thesis is devoted to the study of interpretations of how tragic characters should be portrayed ("mores", "ethos", "mœurs") in French seventeenth-century theories on Tragedy. The theoretical writings of Jean Chapelain, La Mesnardière, Pierre Corneille, d'Aubignac, René Le Bossu, Rapin, Saint-Évremond, Jean Racine and André Dacier are examined in detail. Their findings are compared with the Latin and Italian commentaries on how the Aristotelian notion "character" ("éthé", "éthos") ought to be perceived and understood and what its impact is on dramatic action. The main focus is paid to the detailed analysis of very divergent and often incompatible interpretations of the four Aristotelian conditions outlined briefly in Chapter XV of Poetics and on how the French theorists and dramatists responded to Aristotle's requirements. The first condition requires dramatic character to be "good of its kind" ("chrestos", "ethos" "chreston", "ethe chresta"). The detailed study of contemporary criticism draws us to a conclusion that there are schematically two approaches on how the French theorists conceptualized this very elusive criterion. Whereas Chapelain in his Préface à l'Adone explicitely rejects the moral meaning of "chrestos" and thus...