Relevant bibliographies by topics / Aristotle’s Poetics

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Academic literature on the topic 'Aristotle’s Poetics'

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Published: 4 June 2021
Last updated: 18 May 2024

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Journal articles on the topic "Aristotle’s Poetics"

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Kirby, John T. "Aristotle’s Poetics." Ancient Philosophy 8, no. 1 (1988): 131–33. http://dx.doi.org/10.5840/ancientphil19888128.

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Belfiore, Elizabeth. "Aristotle’s Poetics." Ancient Philosophy 15, no. 1 (1995): 268–72. http://dx.doi.org/10.5840/ancientphil199515159.

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Burger, Ronna. "Aristotle’s Poetics." International Studies in Philosophy 30, no. 4 (1998): 110–11. http://dx.doi.org/10.5840/intstudphil199830416.

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Dikmonienė, Jovita. "Anagnorisis in Aristotle’s Poetics: problems of definition and classification." Literatūra 61, no. 3 (December 20, 2019): 32–41. http://dx.doi.org/10.15388/litera.2019.3.3.

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The article analyses the problems of meaning and classification of the term anagnorisis (ἀναγνώρισις) as it is defined in Aristotle’s Poetics. It focuses on how the term anagnorisis is understood and interpreted by scholars – different translations and their interpretations of the same type of anagnorisis are compared. The article also searches for the answers to the following questions: does the term of anagnorisis discussed by Aristotle mean the recognition of persons or just any kind of truth in a drama; why do some translators differentiate five and others six types of anagnorisis; what did Aristotle bear in mind by distinguishing the type of anagnorisis called “the recognition made by a poet himself” (Arist. Poet. XVI, 1454b 30–31), whereas it is known that all recognitions were created by poets themselves; does “an anagnorisis by false reasoning (a false syllogism)” occur among tragedy characters or does the audience at first misjudge, but later recognises the characters correctly?The author of the article argues that the version of the Arabic manuscript of Aristotle’s Poetics is more logical, as it states that one of the characters (θατέρου) rather than a spectator (θεάτρου) mistakenly recognises another character (Arist. Poet. XVI, 1455a 12–17). First of all, Aristotle does not state specifically that this is the fifth (different from all the others) way of recognition, but while discussing the fourth way of “anagnorisis by reasoning”, he adds that there is also and “an anagnorisis by false reasoning (a false syllogism)” (Arist. Poet. XVI, 1455a 12–13). Secondly, the recognitions described by Aristotle in Part XVI of Poetics occur between two characters, when one has to recognise the other. Therefore, the author of the article does not agree with the opinion by Dana Munteanu (2002) – that in Menander’s comedy Epitrepontes, Smikrine’s false recognition should be referred to as an erroneous spectator’s recognition, whereas at the end of the play Menander depicts Smikrine as a misled spectator just observing the events uninvolved without understanding them properly. By such leaving the word “spectator” in Aristotle’s classification of the fifth type of anagnorisis and using it for a character observing the actions of the play uninvolved, an ambiguity occurs, as Aristotle himself in his Poetics speaks many times about an actual spectator of the tragedy, who while watching the action of the play experiences fear and pity.The author of the article thinks that the translation of chapter XVI of Aristotle’s Poetics by Marcelinas Ročka (1990) should be corrected in some places. At the fifth “recognition by false reasoning”, a note in square brackets stating that this is the last recognition should be omitted. In fact, it is the next-to-last recognition discussed by Aristotle. In translation “the recognitions invented by the poet himself”, some other word can be used, as Aristotle here has in mind that poets usually write poorly and use trite recognitions. A phrase “to contrive” (in Lithuanian “sukurpti”) could be used here instead, as it means “to make or put together roughly or hastily”. It is also true speaking of the translation that a character of the play rather than the audience recognises another character by false reasoning.Finally, the author of the article draws a conclusion that according to Aristotle an anagnorisis is the recognition of persons occurring among characters of the play. In Aristotle’s Poetics, six variants of anagnorisis are distinguished and their classification made based on the principle of artistry and the originality of its use in plays.
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Feddern, Stefan, and Andreas Kablitz. "Mimesis." Poetica 51, no. 1-2 (September 22, 2020): 1–84. http://dx.doi.org/10.30965/25890530-05101001.

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Abstract This article starts off from the observation of the deeply polysemic character of the term mimesis in current literary studies. On the one hand, it is used to denote a poetics of imitation which was mainly derived from the Poetics of Aristotle and was to become the predominant conception of poetry in early modern times until the advent of Romanticism. On the other hand, besides this historical meaning, mimesis has, at the same time, a systematic significance. It refers to any poetics that defines poetry as a specific representation of reality. In this sense, the poetics of realism is quite unanimously considered to be a paradigmatic example of mimetic literature. Our attempt to bring together both sides of the notion of mimesis, to connect its systematic and its historical meaning, is based on a theoretical approach developed in the first part of our study by a criticism of Wittgenstein’s notion of “family resemblance” (Familienähnlichkeit). In the second part, this theoretical model is used for an analysis of the conception of mimesis in Plato’s Republic, Aristotle’s Poetics, and Horace’s Ars poetica.
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Poddis, José Gonçalves. "Compaixão e Terror em Poética 1449b." Nuntius Antiquus 2 (December 31, 2008): 90–98. http://dx.doi.org/10.17851/1983-3636.2..90-98.

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This paper is a brief commentary on the words “fear” and “pity”, which define the tragedy in Aristotle’s Poetics, and its occurrence in tragic texts. The aim is to get a statistical occurrence of these terms in order to clarify Aristotle’s understanding of this poetical style, and its use by playwrights of the fifth century BC.
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Kirby, John T. "Authorship, Authenticity, Authority: Evaluating Aristotle’s Rhetoric and Poetics." Rhetorica 40, no. 2 (2022): 111–53. http://dx.doi.org/10.1525/rh.2022.40.2.111.

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This essay explores a nexus of related concepts—authorship, authenticity, and authority—as they impinge upon one another and on the experience of reading, particularly in the case of “canonical” authors such as Aristotle. Aristotle’s own Rhetoric and Poetics are considered together in light of these concepts, as well as in terms of seven constraints that operated upon Aristotle as a thinker and writer. Twentieth-century theories of reading are adduced in an examination of the rhetorical dimensions of Aristotle’s own notion of authorship. The essay also examines the rhetorical forces entailed in the editing and publication of authors known only from ancient manuscripts, and in the reading of legal and sacred texts.
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Nilova, Anna. ""POETICS" OF ARISTOTLE IN RUSSIAN TRANSLATIONS." Проблемы исторической поэтики 19, no. 4 (December 2021): 7–39. http://dx.doi.org/10.15393/j9.art.2021.9822.

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The article presents an overview of the existing translations of Aristotle's “Poetics”, characterizes the features of each of them. In the preface to his translation of Aristotle's “Poetics”, V. Zakharov characterized the work of the Greek philosopher as a “dark text.” Each translation of this treatise, which forms the basis of European and world literary theory, is also its interpretation, an attempt to interpret the “dark places.” The first Russian translation of “Poetics” was made by B. Ordynsky and published in 1854, however, the Russian reader was familiar with the contents of the treatise through translations into European languages and its expositions in Russian. For instance, in the “Dictionary of Ancient and New Poetry” Ostolopov sets out the Aristotelian theory of drama and certain other aspects of “Poetics” very close to the original text. Ordynsky translated the first 18 chapters of “Poetics”, focusing on the theory of tragedy. The translator presented his interpretation of Aristotle’s concept in an extensive preface, commentaries and a lengthy “Statement.” This translation set off a critical analysis by Chernyshevsky, and influenced his dissertation “Aesthetic relations of art to reality”, in which the author polemicizes with the aesthetics of German romanticism. In 1885 V. Zakharov published the first complete Russian translation of “Poetics”, in which he offered his own interpretation of Aristotle's teaching on language and epic. The author of this translation returns to the terminology of romantic aesthetics, therefore the translation itself is outside the main line of perception of the teachings of Aristotle by domestic literary theory, which is clearly manifested in the translations of V. G. Appelrot (1893), N. N. Novosadsky (1927) and M. L. Gasparov (1978). The subject of discussion in these translations was the interpretation of the notions of μῦϑος and παθος, the concepts of mimesis and catharsis, the source of suffering and the tragic, the possibility of modernizing terminology. An important milestone in the perception and assimilation of Aristotle's treatise by Russian literary criticism was its translation by A. F. Losev, which was not published, but was used by the author in his theoretical works and in criticizing other interpretations of “Poetics”. M. M. Pozdnev penned one of the last translations of “Poetics” (2008). The translator does not seek to preserve the peculiarities of the original style and interprets “Poetics” within the framework and terms of modern literary theory, focusing on its English translations. The main subject of the translator's reflection is Aristotle's understanding of the essence and phenomenon of poetic art. Translations of the Greek philosopher's treatise reflect the history of the formation and development of the domestic theory of literature, its main topics and terminological apparatus.
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Narbonne, Jean-Marc. "Colloquium 3 Likely and Necessary: The Poetics of Aristotle and the Problem of Literary Leeway." Proceedings of the Boston Area Colloquium of Ancient Philosophy 33, no. 1 (July 24, 2018): 69–87. http://dx.doi.org/10.1163/22134417-00331p08.

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Abstract Taking as a starting point a crucial passage of Aristotle’s Poetics where poetical technique is declared to be different from all other disciplines in human knowledge (25, 1460b8–15), I try to determine in what sense and up to what point poetry can be seen as an autonomous or sui generis creative activity. On this path, I come across the so-called “likely and necessary” rule mentioned many times in Aristotle’s essay, which might be seen as a limitation of the poet’s literary freedom. I then endeavour to show that this rule of consistency does not preclude the many means by which the poet can astonish his or her audience, bring them into error, introduce exaggerations and embellishments on the one hand (and viciousness and repulsiveness on the other), have the characters change their conduct along the way, etc. For Aristotle, the poetic art—and artistic activities in general—is concerned not with what in fact is or what should be (especially ethically), but simply with what might be. Accordingly, one can see him as historically the very first theorist fiction, not only because he states that poetry relates freely to the possible, but also because he explains why poetry is justified in doing so.
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Poddis, José Gonçalves. "Compaixão e Terror em Poética 1449b." Nuntius Antiquus 2 (December 31, 2008): 90. http://dx.doi.org/10.17851/1983-3636.2.0.90-98.

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<p>This paper is a brief commentary on the words “fear” and “pity”, which define the tragedy in Aristotle’s Poetics, and its occurrence in tragic texts. The aim is to get a statistical occurrence of these terms in order to clarify Aristotle’s understanding of this poetical style, and its use by playwrights of the fifth century BC.</p>
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Dissertations / Theses on the topic "Aristotle’s Poetics"

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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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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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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.
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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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
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.
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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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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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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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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Barriviera, Alessandro. "Poetica de Aristoteles : tradução e notas." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268984.

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Orientador: Trajano Augusto Ricca Vieira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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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
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
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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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Books on the topic "Aristotle’s Poetics"

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Aristotle: Aristotle's Poetics. London: Phoenix, 1998.

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Aristóteles. Aristotle's Poetics. Montreal: McGill-Queen's University Press, 1997.

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Aristóteles. Aristotle's poetics. New York: Hill and Wang, 2000.

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Aristotle, ed. Aristotle's Poetics. London: Duckworth, 1986.

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Aristotle, ed. Aristotle's Poetics. Chicago: University of Chicago Press, 1998.

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Leonardo, Tarán, and Gutas Dimitri, eds. Aristotle's Poetics. Leiden: Brill, 2012.

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Aristotle. Aristotle's Poetics. Grinnell, Iowa: Peripatetic Press, 1990.

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Halliwell, Stephen. Aristotle's poetics. Chapel Hill: University of North Carolina Press, 1986.

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Aristóteles. Aristotle's On poetics. South Bend, Ind: St. Augustine's Press, 2002.

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Aristóteles. Aristotle : poetics. London: NHB, 1999.

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Book chapters on the topic "Aristotle’s Poetics"

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Price, Brian. "Aristotle’s Poetics." In Classical storytelling and Contemporary Screenwriting, 5–6. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315148526-3.

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Whalley, George. "On Translating Aristotle’s Poetics." In Studies in Literature and the Humanities, 44–74. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07777-9_4.

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Stutterheim, Kerstin. "Film Dramaturgy: A Practice and a Tool for the Researcher." In The Palgrave Handbook of Screenwriting Studies, 689–708. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20769-3_36.

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AbstractThis chapter gives an overview of dramaturgy as practice and discipline. Dramaturgy has its origins in Antiquity and established itself as a theoretical and analytical approach to understand and support narrative-performative arts in the eighteenth century. After comparing the most influential roots and tradition, from its European origins to its equivalents in India and in the Arabic world, as well as considering interpretations and receptions of Aristotle’s Poetics, the chapter looks at key influential figures such as G. E. Lessing, Max Reinhardt, Max Herrmann and Bertolt Brecht. It discusses dramaturgy as a subject for higher education and its correspondence to professional practice. Furthermore, it highlights the importance of dramaturgy for the screenwriting process and, consequently, how dramaturgy can support academic analyses of time-based and narrative-performative artworks.
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Baffioni, Carmela. "Aristotle, Arabic: Poetics." In Encyclopedia of Medieval Philosophy, 1–3. Dordrecht: Springer Netherlands, 2020. http://dx.doi.org/10.1007/978-94-024-1151-5_54-2.

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Bonadeo, Cecilia Martini, Angela Guidi, Antonella Straface, Roxanne D. Marcotte, Cecilia Martini Bonadeo, Samuel Noble, Emily J. Cottrell, et al. "Aristotle, Arabic: Poetics." In Encyclopedia of Medieval Philosophy, 118–19. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-1-4020-9729-4_54.

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Baffioni, Carmela. "Aristotle, Arabic: Poetics." In Encyclopedia of Medieval Philosophy, 205–8. Dordrecht: Springer Netherlands, 2020. http://dx.doi.org/10.1007/978-94-024-1665-7_54.

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Saber, Fathieh Hussam. "Shellyseer: A Literary Evolution." In Gulf Studies, 365–80. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-7796-1_22.

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AbstractThe dramatic elements that are in Shellyseer have traveled for a long period of time and have been affected by dramatic elements from different cultures, which means that Shellyseer is a result of the evolution of drama. This chapter draws attention to the effect that the East and the West have on each other, by pointing out the effect that Aristotle’s Poetics—Western Theory—had on Ghanem Al-Suliti’s Shellyseer—Eastern Literature. This chapter combines comparative literature with literary theory and criticism in order to give an example of a globalized view of how drama evolves where there are no borders that limit influence. This chapter traces back drama back to its oldest documented sources to show how it evolved throughout history and offers deeper knowledge of Middle Eastern drama, the importance, and strength of political satire, and how strong of a mutual influence Eastern and Western literature have on each other.
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Goldfinger, Jacqueline. "Thoughts on Aristotle's Poetics." In Playwriting with Purpose, 64–67. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003173885-9.

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"ARISTOTLE’S POETICS." In Mimesis, 42–56. Routledge, 2006. http://dx.doi.org/10.4324/9780203401002-12.

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"Aristotle’s Poetics." In Exploring Art for Perspective Transformation, 44–62. BRILL, 2021. http://dx.doi.org/10.1163/9789004455344_004.

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Reports on the topic "Aristotle’s Poetics"

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Hagensick, Michael. A Comparative Study of Aristotle's Poetics and Ezra Pound's ABC of Reading. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2256.

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