Journal articles: 'Aristotle’s Poetics'

1

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

Feddern, Stefan, and Andreas Kablitz. "Mimesis." Poetica 51, no. 1-2 (September 22, 2020): 1–84. http://dx.doi.org/10.30965/25890530-05101001.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

<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>

APA, Harvard, Vancouver, ISO, and other styles

11

Francis, Heather. "Aristotle’s Poetics and Aesthetic Design." TechTrends 65, no. 5 (August 3, 2021): 686–88. http://dx.doi.org/10.1007/s11528-021-00643-3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Mazur, Piotr Stanislaw. "Human Drama in Aristotle’s Poetics." Roczniki Humanistyczne 68, no. 3 (February 7, 2020): 57–69. http://dx.doi.org/10.18290/rh20683-4.

Full text

Abstract:

Ludzki dramat w Poetyce Arystotelesa Celem artykułu jest ukazanie dramatu jako wydarzenia ludzkiego w Poetyce Arystotelesa. Zdaniem autora, odwrócenie mechanizmu naśladownictwa (mimesis), używanego przez Arystotelesa do tworzenia tragedii, pozwala potraktować Poetykę przede wszystkim jako nośnik wiedzy o dramacie człowieka jako bohatera tragedii. Uczucia litości i trwogi, których powinna dostarczyć tragedia, ujawniają, co jest dramatem człowieka, a zarazem co sprawia, że człowiek może doświadczyć dramatu. Dramat ten wynika nie tylko z siły i nieuchronności zła, na które natrafia człowiek w swoim życiu, ale także jest następstwem jego niedoskonałości. Przejawia się ona w podatności człowieka na błąd, nietrwałości i niepewności jego sytuacji oraz podatności na egzystencjalne zranienie.

APA, Harvard, Vancouver, ISO, and other styles

13

Ledo, Jorge. "Some Remarks on Renaissance Mythophilia. The Medical Poetics of Wonder: Girolamo Fracastoro and His Thought World (Appendix Galeotto Marzio, De doctrina promiscua [ante 1490, princeps 1548])." Análisis. Revista de investigación filosófica 4, no. 2 (January 5, 2018): 163–214. http://dx.doi.org/10.26754/ojs_arif/a.rif.201722472.

Full text

Abstract:

The following pages make a case for the important role played by Aristotle’s Metaphysics α 2 982b11–21 in Renaissance poetics and especially in that of Girolamo Fracastoro. As this passage, and Aristotle’s Metaphysics in general, have traditionally been denied a major role in the poetics of the Renaissance, I have been obliged to develop my argument in three sections. [1.] The first focuses on Thomas Aquinas’s roundbreaking reading of the quotation in psychological and epistemological terms, and on how he and his contemporaries were able to harmonize it both with the corpus Aristotelicum and with the development of a place for poetry in the system of the arts. [2.] The second section illustrates how the first humanists used Aristotle’s authority to invert the meaning of the passage, transforming it into an argument in defense of the primacy of poetry over the rest of the arts. This appropriation had two undesiderable effects: either depriving the passage of its theoretical implications or, worse, assimilating Aristotle’s words into a Platonizing vision of poetry. Only with the recovery of the Greek text of Aristotle’s Poetics in the late fifteenth century did the passage escape its new status as a commonplace in humanist defense of poetry, and was briefly again considered as a point of departure for the analysis of concepts such as fabula (fiction) and admiratio (wonder), based on philosophical, poetic, and medical premises. [3] The last section introduces Galeotto Marzio’s and Giovanni Pontano’s pioneering works on these two concepts—fabula and admiratio—, as an introduction to the subsequent synthesis done by Girolamo Fracastoro, who, from the positions held by Marzio and Pontano as well as Aquinas’s original intuition, was able to harmonize natural philosophy and poetry by means of their psychological implications. This is what I have called here the ‘medical poetics of wonder’ or, more simply, mythotherapy.

APA, Harvard, Vancouver, ISO, and other styles

14

Berti, Enrico. "My Walks With Aristotle." Peitho. Examina Antiqua 7, no. 1 (March 17, 2016): 55–68. http://dx.doi.org/10.14746/pea.2016.1.3.

Full text

Abstract:

In connection with the ongoing celebration of Aristotle’s Year that has been announced by UNESCO, the Poznan Archaeological Reserve – Genius Loci organized a series of lectures “Walks with Aristotle” that refer to the famous name of the Peripatos school. This invitation has been accepted by one of the greatest scholars of Aristotle, Professor Enrico Berti from the University of Padua, who has been publishing for more than 50 years various studies on the philosophy of the Stagirite as well as on the history of philosophy. Recently, his very instructive book, entitled Aristotle’s Profile, has appeared in Polish translation (Poznań 2016). Professor Berti’s presentation provides an overview of his most important achievements. Included in these are his forthcoming works: his new translation and commentary on Aristotle’s Metaphysics as well as his monograph Aristotelismo which reconstructs the diverse interpretations of Aristotle’s doctrines through centuries: from logic to epistemology, from physics to psychology and zoology, from metaphysics to ethics and politics and lastly from rhetoric to poetics.

APA, Harvard, Vancouver, ISO, and other styles

15

Rowett, Catherine. "Analytic Philosophy, the Ancient Philosopher Poets and the Poetics of Analytic Philosophy." Rhizomata 8, no. 2 (December 1, 2020): 158–82. http://dx.doi.org/10.1515/rhiz-2020-0008.

Full text

Abstract:

Abstract The paper starts with reflections on Plato’s critique of the poets and the preference many express for Aristotle’s view of poetry. The second part of the paper takes a case study of analytic treatments of ancient philosophy, including the ancient philosopher poets, to examine the poetics of analytic philosophy, diagnosing a preference in Analytic philosophy for a clean non-poetic style of presentation, and then develops this in considering how well historians of philosophy in the Analytic tradition can accommodate the contributions of philosophers who wrote in verse. The final part of the paper reviews the current enthusiasm for decoding Empedocles’ vague and poetic descriptions of the cosmic cycle into a precise scientific periodicity on the basis of the recently discovered Byzantine scholia on Aristotle. I argue that this enthusiasm speaks to a desire for definite and clear numerical values in place of poetic motifs of give and take, and that this mathematical and scientific poetic is comparable to the preferred poetic of analytic philosophy.

APA, Harvard, Vancouver, ISO, and other styles

16

Ivry, Alfred L. "Averroes’ Middle Commentary on Aristotle’s Poetics." Ancient Philosophy 13, no. 1 (1993): 234–36. http://dx.doi.org/10.5840/ancientphil199313162.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Fendt, Gene. "The Others In/Of Aristotle’s Poetics." Journal of Philosophical Research 22 (1997): 245–60. http://dx.doi.org/10.5840/jpr_1997_28.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Lascio, Ermelinda Valentina Di. "The Theoretical Rationale." History of Philosophy and Logical Analysis 15, no. 1 (April 5, 2012): 55–89. http://dx.doi.org/10.30965/26664275-01501004.

Full text

Abstract:

This paper discusses two issues that have challenged interpreters of Aristotle’s Sophistical Refutations (SE): (1) the criteria behind Aristotle’s classification of linguistic fallacies; (2) the interpretation of the opening passage of SE 4. Although Aristotle never clarifies the principles underlying his classification, I contend that his list of six linguistic fallacies in SE is not arbitrary, but relies on a precise rationale which lies in his conception of λέξις as expressed mainly in Poetics 20. The disclosure of this rationale allows in turn for the reconstruction of the “proof through συλλογισμός sketched in SE 4, which is supposed to prove that Aristotle’s list of linguistic fallacies is exhaustive: the proof is not a συλλογισμός in the sense of deductive argument, but a diairetic συλλογισμός a division.

APA, Harvard, Vancouver, ISO, and other styles

19

Faria, Luís. "Luís Alberto de Abreu e a peça "Um dia ouvi a Lua": a poética aristotélica como cânone." Cadernos de Literatura Comparada, no. 43 (2020): 175–91. http://dx.doi.org/10.21747/21832242/litcomp43a11.

Full text

Abstract:

This article discusses how the use of Brazilian colloquial language and the epic theatrical elements in the play One day I saw the moon (Um dia ouvi a Lua), written by Luís Alberto de Abreu, compose the work’s mechanisms of this Brazilian playwright. These mechanisms allow the author to build his own dramatic poetic works based on storytelling. Abreu dialogues with the Aristotle’s Poetics, or the Aristotelian canon. The playwright attempts to know how the epic genre works according to Aristotle and he brings this idea to the Brazilian reality. Abreu makes a contemporary form of theatrical art. This art does not deny the canon and it does not accept the canon like an untouchable form.

APA, Harvard, Vancouver, ISO, and other styles

20

Destrée, Pierre. "Aristotle on the Power of Music in Tragedy." Greek and Roman Musical Studies 4, no. 2 (September 1, 2016): 231–52. http://dx.doi.org/10.1163/22129758-12341277.

Full text

Abstract:

Against the almost undisputed communis opinio among interpreters of the Poetics, I argue that spectacle in general, and music in particular are of crucial importance in Aristotle’s conception of tragedy. In enhancing the spectators’ emotions of pity and fear, music (i.e. aulos music) contributes to obtaining the pleasure ‘proper’ to tragedy which, as Aristotle says, “comes from pity and fear through mimesis”.

APA, Harvard, Vancouver, ISO, and other styles

21

Harb, Lara. "Mimesis and Mythos in Aristotelian Arabic Poetics." Comparative Literature 76, no. 1 (March 1, 2024): 1–19. http://dx.doi.org/10.1215/00104124-10897081.

Full text

Abstract:

Abstract The Aristotelian sense of mimesis (i.e., fictional representation of an evoked world through plot and characters) continues to shape modern views of literature. The medieval Arabic reception of the concept of mimesis and its closely related concept of mythos (fable, story, or plot) through Aristotle’s Poetics reveals a different conception of literature—one that this article argues is not representational but analogical. While Aristotle sees mythos/plot as forming the main vehicle through which mimesis manifests itself in poetry, mythos (khurāfa) according to the philosophers of the Islamic world was irrelevant for the poetic. This is because they understood mythos not as “plot” but as referring, on the one hand, to the fictionality and fantasticness of poetic metaphor, which they deemed inessential for the success of poetry; on the other hand, they understood mythos as “story,” in which case they relegated to it a rhetorical function of persuasion rather than a poetic function of make-believe. Fundamentally, in both the poetic and the rhetorical, mimesis was understood as the expression of the comparable, not the representation of the likeness of an evoked world. This exposes an Arabic conception of “mimesis” that reflects a literature that seeks comparisons and demands the inference of similarities from the reader.

APA, Harvard, Vancouver, ISO, and other styles

22

Chodkowski, Robert R. "Aristotle’s Poetics versus Modern Theories of Drama." Roczniki Humanistyczne 66, no. 3 SELECTED PAPERS IN ENGLISH (October 23, 2019): 25–35. http://dx.doi.org/10.18290/rh.2018.66.3-2e.

Full text

Abstract:

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 57 (2009), issue 3. This paper seeks to prove that there are no grounds in the Poetics to ascribe to Aristotle the views identified with the literary theory of drama because he does not identify drama with a verbal work. On the contrary, the spectacular dimension of tragedy is for Aristotle one of the distinctive feature of tragedy vis-à-vis epos, which for him is only – to use our modern terms—a literary work. Thus, the visual element (ὄψις or ὄψεως κόσμος) is not only very important for Aristotle, but it is even a necessary component of tragedy. Indeed there are some remarks in the Poetics that suggest tragedy may exist without ὄψις, but this is only regarded as a hypothetical situation, analogical to the one when he argues that tragedy may exist without characters. In fact, however, both ὄψις and characters are regarded by Aristotle as necessary components of tragedy. He makes his considerations assuming both components. At the same time, he treats tragedy not as a text but a theatrical work in which mimesis can be conducted by the “acting persons” (πράττοντες). They are understood not as literary figures, but as stage embodiments of the heroes whose psychophysical ontic paradigms are actors.

APA, Harvard, Vancouver, ISO, and other styles

23

Dr. Nisha Singh. "Aristotle’s Poetics: Revisiting the Legends of Research." Creative Launcher 4, no. 6 (February 29, 2020): 61–64. http://dx.doi.org/10.53032/tcl.2020.4.6.10.

Full text

Abstract:

Research from the time of Plato to this day has passed through several phases and stages, which are interconnected in various subtle and complex ways. The present article aims to revisit these phases at a glance from sixteenth century to the present age. The starting point in this historical survey is naturally a brief reference to its fountain head, namely the literary criticism in antiquity. It basically falls into three heads- 1. Hellenic Period, 2. Hellenistic Period, and 3. Graeco Roman period. Among these, Hellenic period is most significant both intrinsically and historically. In this crucial phase Athens is the most important centre and Plato and Aristotle are the most distinguished and outstanding exponents. Friends the problem of literature and Art is- i. What literature ought to be? ii. What it really is?

APA, Harvard, Vancouver, ISO, and other styles

24

Wesoły, Marian Andrzej. "Mimesis – wyróżniki i formy twórczości poetyckiej według Arystotelesa." Symbolae Philologorum Posnaniensium Graecae et Latinae 32, no. 2 (December 28, 2022): 21–42. http://dx.doi.org/10.14746/sppgl.2022.xxxii.2.2.

Full text

Abstract:

This article concerns the first six chapters of Aristotle’s Poetics within the Greek text provided. The introductory note is intended to prepare the reader for an integrated approach to the issues stated in the title. We propose a new Polish translation of this text in a rendition as close to the original as possible. For the sake of clarity, we highlight the chapters with various appropriate thematic headings. In contrast to most translations and commentaries, we show Aristotle speaking of forms (eide), not in the sense of literary genres or species but in the sense of forms as components (mere) of mimesis under the triad of complementary distinctions, which are the means, the objects and the modes of poetic imitation.

APA, Harvard, Vancouver, ISO, and other styles

25

Iskra-Paczkowska, Agnieszka, and Przemyslaw Paczkowski. "Ancient Doctrines of Passions: Plato and Aristotle." Studia Humana 5, no. 3 (September 1, 2016): 21–28. http://dx.doi.org/10.1515/sh-2016-0012.

Full text

Abstract:

Abstract The subject of this essay is a discussion of the doctrines of emotions of Plato and Aristotle. According to both them it is impossible to oust the passions from the good, i.e. happy life. On the contrary, emotions are an important component of human excellence. We investigate this question with reference to Plato’s doctrine of the soul and his concept of a perfect life, and Aristotle’s ethics, poetics and rhetoric.

APA, Harvard, Vancouver, ISO, and other styles

26

Brazeau, Bryan. "“My Own Worst Enemy”: Translating <i>Hamartia</i> in Sixteenth-Century Italy." Renaissance and Reformation 41, no. 4 (April 1, 2019): 9–42. http://dx.doi.org/10.33137/rr.v41i4.32449.

Full text

Abstract:

This article considers the ways in which Aristotle’s notion of hamartia (ἁμαρτία) in the Poetics—the tragic fault that leads to the protagonist’s downfall—was rendered in sixteenth-century translations and commentaries produced in Italy. While early Latin translations and commentaries initially translated the term as error, mid-Cinquecento literary critics and theorists frequently used a term that implied sin: peccatum/peccato. Was this linguistic choice among sixteenth-century translators indicative of a broader attempt to Christianize the Poetics? While there were significant attempts on the part of translators and commentators to moralize the Poetics, this study of how hamartia was translated suggests that such interpretations were not Counter-Reformation distortions of Aristotle’s Poetics but rather part of a broader program of cultural translation—expressing the linguistic influence of a religious public, but not necessarily a moralizing interpretation—domesticating the Greek philosopher for an early modern Christian audience.

APA, Harvard, Vancouver, ISO, and other styles

27

Dr. Pooja Agarwal. "Across Space and Time: Commonalities in Natyashastra, The Republic, and Poetics." Creative Launcher 4, no. 1 (April 30, 2019): 130–35. http://dx.doi.org/10.53032/tcl.2019.4.1.20.

Full text

Abstract:

By the time Chandragupta Maurya established the Mauryan Empire in 322 B.C., Plato, the Greek philosopher had already envisaged an ideal commonwealth and had captured its principles in his The Republic, banishing all poets from his ideal state; and Aristotle, who started off as a student of Plato, had already presented to the world a clear rebuttal to Plato in his treatise, Poetics. There doesn’t seem to be much evidence to support the hypothesis that Bharata’s Natyasastra written sometime between 2nd century B.C. and 2nd century A.D. was influenced by Aristotle’s Poetics, or that, since the date of Natyasastra’s publication is so uncertain, Natyasastra in some way had an influence on Poetics. But this lack of evidence does not undermine the fact that in the Mauryan period (322 B.C. to 185 B.C.), there was an eager influx of Greek diplomats and explorers like Megasthenesin the subcontinent, who were not only political and economic emissaries, but also cultural ambassadors. Neither does this lack of evidence undermine the possibility of an influence, on either side of the theorists. But the case under consideration is not the existence of any physical evidence that could establish a connection, but rather that connection or no connection, Plato’s Republic, Aristotle’s Poetics and Bharata’s Natyasastra have a common thread. All the three works are in some way or other an exposition on the imitative art of poetry and drama, and inevitably, each is linked to the other, if in nothing else, then at least in terms of comparative analysis.

APA, Harvard, Vancouver, ISO, and other styles

28

Hale, John K. "Can the Poetics of Aristotle Aid the Interpretation of Shakespeare’s Comedies?" Antichthon 19 (1985): 16–31. http://dx.doi.org/10.1017/s006647740000321x.

Full text

Abstract:

Because the Poetics has had such importance for the theory and practice of tragedy, the loss of Aristotle’s thought about comedy is greatly to be lamented. The student of Shakespeare laments it all the more in that our understanding of the comedies has lagged behind that of the tragedies. This paper asks, however, to what extent the Poetics as extant can be usefully applied to the comedies of Shakespeare; and to what extent we can thereby remedy some deficiencies of comedy criticism. For instance, it is a strength of Aristotle that he does not flinch from stating the obvious: he extracts from the obvious something useful,or even fundamental. Contrariwise, the interpretation of Shakespeare’s comedies often flinches from the obvious, and falls in consequence into the supersubtle or the arbitrary. A return to the Poetics may therefore be of benefit when it recalls us to fundamentals.

APA, Harvard, Vancouver, ISO, and other styles

29

Johnson, Galen A. "From Aristotle’s Poetics to Newman’s Vir Heroicus Sublimis." Epoché 10, no. 1 (2005): 65–79. http://dx.doi.org/10.5840/epoche20051015.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Kirby, John T. "Authorship, Authenticity, Authority: Evaluating Aristotle’s Rhetoric and Poetics." Rhetorica 40, no. 2 (March 2022): 111–53. http://dx.doi.org/10.1353/rht.2022.0013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Cannatella, Howard James. "Plato and Aristotle’s Educational Lessons from the Iliad." Paideusis 15, no. 2 (October 28, 2020): 5–13. http://dx.doi.org/10.7202/1072676ar.

Full text

Abstract:

Of considerable importance in Plato and Aristotle’s educational outlook on the arts was Homer’s Iliad. This paper draws out some of the perceived weaknesses and strengths of this epic poem as it relates to the arguments in Plato’s Republic and Aristotle’s Poetics. I will attempt to do justice to Plato and Aristotle’s differing perspectives on the Iliad and their critique of art educational theory and practice. I will show why two philosophers with very different thinking on art education can still significantly affect art teaching practice today.

APA, Harvard, Vancouver, ISO, and other styles

32

DESTREE, PIERRE. "LE PLAISIR ‘PROPRE’ DE LA TRAGEDIE EST-IL INTELLECTUEL?" Méthexis 25, no. 1 (March 30, 2012): 93–107. http://dx.doi.org/10.1163/24680974-90000598.

Full text

Abstract:

In this article, I oppose ‘cognitivist’ interpretations of Aristotle’s Poetics (Belfiore, Donini, Gallop, Halliwell, Wolff) which defend the idea that the pleasure proper to tragedy is a pleasure of an intellectual nature, and I defend an ‘emotivist’ interpretation according to which this pleasure is essentially of an emotional nature. I pass in review the passages of chapters 4, 9, 14 and 26 wherein the question of the ‘pleasure proper’ to tragedy is dealt with, in comparing them with what Aristotle tells us about musical pleasure in Politics VIII.

APA, Harvard, Vancouver, ISO, and other styles

33

Lee, Cheolhee. "Aristotle’s Poetics and Eliot : Focusing on Imitation and Allusion." Journal of Modern British and American Language and Literature 33, no. 4 (November 30, 2015): 141. http://dx.doi.org/10.21084/jmball.2015.11.33.4.141.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Marsh, Loren D. "The Plot Within: μέγεθος and μῆκος in Aristotle’s Poetics." American Journal of Philology 136, no. 4 (2015): 577–606. http://dx.doi.org/10.1353/ajp.2015.0041.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Baxter, John. "The Soul of Tragedy: Some Basic Principles in Aristotle’s Poetics." PhaenEx 1, no. 2 (June 30, 2007): 1. http://dx.doi.org/10.22329/p.v1i2.221.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Proszewska, Agnieszka Maria. "Investigating the origins of Peter Wessel Zapffe’s notion of tragedy in Aristotle’s Poetics: the case of mimesis." European Journal of Scandinavian Studies 50, no. 2 (October 25, 2020): 285–301. http://dx.doi.org/10.1515/ejss-2020-2003.

Full text

Abstract:

AbstractThe aim of this paper is to present the philosophical figure of a Norwegian philosopher and writer, creator of biosophy, Peter Wessel Zapffe (1899–1990), and to investigate the origins of his notion of tragedy (tragic experience) which he introduces in his magnum opus Om det tragiske (1941). I attempt to do so by searching its roots in antique theory of tragedy introduced by Aristotle, especially on the pages of Poetics, to which Zapffe himself often refers to. A study of how Zapffe “read” and understood Aristotle’s Poetics, a classical piece for the study of tragedy and tragic experience, seems essential for establishing the roots and foundations of his own vision of tragedy and its functions, finally shifting from the purely literary sphere to the biosophical level of human existence. In this paper I will focus mainly on the notion and art of mimesis, laying the basis for further detailed studies of Zapffe’s biosophical analysis of the subject.

APA, Harvard, Vancouver, ISO, and other styles

37

Judy, R. A. "The Poetics of Protest, from Africa to Minneapolis." Comparative Literature 74, no. 3 (September 1, 2022): 293–305. http://dx.doi.org/10.1215/00104124-9722350.

Full text

Abstract:

Abstract Offering an itinerary of the thinking that led to Sentient Flesh: Thinking in Disorder, Poiēsis in Black, R. A. Judy explains the concept of “poetic socialities” mentioned in it. This explanation begins with an account of the Muslim peripatetic philosophers’ reception of Aristotle’s Poetics, focusing on ibn Sīnā’s conception of the role poetic expression’s cognitive as well as affective force plays in the instantiation of what he calls الأمة الشعرية (al-umma al-sh’irīya), “the poetic or aesthetic community.” Elaborating how and why the phrase poetic socialities is the paraphrastic translation of ibn Sīnā’s, the essay tracks the study of poetic socialites from its initial formulation regarding the 2010 Tunisian Revolution to it becoming the reference point of orientation for an interrogation of the modern concepts of sovereignty, revolution, and civic republicanism. With respect to these concepts, the study of poetic socialities enacts a critique of imperial neoliberal tendency of socialization; whereby the only tenable norm of general subjectivity is a function of speculative market value as the absolute measure not just of human progress but existence as well. Along these lines, poetic socialities is an attempt at understanding something of what is at play in te current era of popular unrest.

APA, Harvard, Vancouver, ISO, and other styles

38

Ngwoke, Omeh Obasi. "Experimenting with a new tragic model: Elechi Amadi’s Isiburu." Tydskrif vir Letterkunde 55, no. 2 (August 30, 2018): 39–56. http://dx.doi.org/10.17159/2309-9070/tvl.v.55i2.4948.

Full text

Abstract:

Aristotle’s Poetics has remained one of the most resourceful reference materials to literary critics and theorists over the centuries from classical antiquity to contemporary times. However, in spite of its lofty status and acclaim the classical source material has also faced serious criticisms especially concerning certain unrealistic and vague postulations made in it about tragedy. The most challenged postulations are those relating to the status of the tragic hero, his flaw, the emotions of pity and fear, and catharsis. Some of these “problematic” areas constitute the crux of Elechi Amadi’s concern in “Gods and Tragic Heroes,” a polemical essay on which this study hinges. Re-examining some existing conversations on the subject and Amadi’s charges against Aristotle, the essay affirms that tragedy is a flexible literary form and that Amadi, amidst his evaluation of Aristotle’s enduring aesthetics, proposes a novel model in which hamartia and the emotional impacts of the hero’s fall on the audience are a function of an overarching supernatural activity in the tragic plot. Consequently, the essay appraises Isiburu as Amadi’s practical example of the proposed model.

APA, Harvard, Vancouver, ISO, and other styles

39

Tsitsiridis, Stavros. "MIMESIS AND UNDERSTANDING: AN INTERPRETATION OF ARISTOTLE’S POETICS 4.1448B4–19." Classical Quarterly 55, no. 2 (December 2005): 435–46. http://dx.doi.org/10.1093/cq/bmi041.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Zalewski, Cezary. "From “catharsis in the text” to “catharsis of the text”." Forum Philosophicum 25, no. 2 (December 4, 2020): 323–39. http://dx.doi.org/10.35765/forphil.2020.2502.21.

Full text

Abstract:

Roman Ingarden (1893–1970) was a prominent Polish philosopher, phenomenologist, and student of Edmund Husserl. A characteristic feature of his works was the almost complete absence of analyzes from the history of philosophy. That is why it is so surprising that right after the end of World War II, the first text analyzed when Ingarden started working at the Jagiellonian University was Aristotle’s “Poetics.” Ingarden published the results of his research in Polish in 1948 in “Kwartalnik Filozoficzny” and in the early 1960s his essay was translated and published in the renowned American magazine “The Journal of Aesthetics and Art Criticism” as “A Marginal Commentary on Aristotle’s Poetics.” As far as I know today, this text does not arouse much interest among the many commentators and followers of Ingarden’s philosophy. Perhaps this state of affairs is justified: Ingarden’s own ideas are only repeated here, and their usefulness in the meaning of “Poetics” remains far from obvious. However, I think that this relative obscurity is worth considering now, because it shows how modern reason tries to control ancient concepts. The main purpose of this article is therefore to recon- struct the strategy by which philosophy tames the text of “Poetics,” especially its concepts such as catharsis and mimesis. The discovery and presentation of these treatments would not have been possible were it not for the mimetic theory of René Girad, which provides anthropological foundations for a critique of philosophical discourse.

APA, Harvard, Vancouver, ISO, and other styles

41

González, José M. "The Aristotelian Psychology of Tragic Mimesis." Phronesis 64, no. 2 (March 25, 2019): 172–245. http://dx.doi.org/10.1163/15685284-12341958.

Full text

Abstract:

AbstractThis paper argues that the psychology of mimesis presupposed by Poetics 4 is immediately relevant to Aristotle’s psychology of tragic mimesis. µανθάνειν καὶ συλλογίζεσθαι at 1448b16 involve a cognitive mode characteristic of Aristotelian induction that joins particulars with universals through spontaneous, non-discursive noetic predication. Aristotle’s view of the cognition of tragic mimesis can be subsumed under the practice of theōria: the inductive re‑cognition of ethical universals is a ‘theoric’ exercise of philosophical reflection on the particulars of the tragic action, an associative intellection that actualizes the subject’s knowledge by joining ethical universals with the particular mimetic praxeis they regard.

APA, Harvard, Vancouver, ISO, and other styles

42

Arzhanov, Yury. "A Fragment of the Syriac Translation of Aristotle’s Poetics Preserved by Jacob Bar Shakko." Philologia Classica 16, no. 1 (2021): 117–37. http://dx.doi.org/10.21638/spbu20.2021.111.

Full text

Abstract:

The fragment of the Syriac translation of Aristotle’s Poetics preserved by Jacob (Severus) Bar Shakko (d. 1241) comprises Poet. VI 1449b24–1450a10. In spite of its small size, it serves as an important witness both to the Greek text of the Poetics, and to the reception of this work in the Christian Orient and, later on, in the Muslim world. The fragment derives from a translation, which most likely appeared in West Syriac circles in the 7th/8th centuries AD and later served as the basis for the Arabic translation of the Poetics made by Abū Bishr Mattā ibn Yūnus in the 10th century. The present article includes a new edition of the Syriac text preserved by Bar Shakko, which is based on the collation of six manuscripts and is accompanied by an English translation. The article also provides a detailed analysis of the Syriac fragment as compared to the transmitted Greek text of the Poetics, on the one hand, and to the Arabic translation of it by Abū Bishr, on the other. This comparison allows an assumption that the Syriac version is most likely based on a Greek manuscript, which may have contained glosses and scholia. A Greek and Syriac glossary is attached at the end of the article.

APA, Harvard, Vancouver, ISO, and other styles

43

Dr Snigdha Jha. "Aristotle’s Mimesis or Creative Imitation." Creative Launcher 5, no. 1 (April 30, 2020): 32–36. http://dx.doi.org/10.53032/tcl.2020.5.1.05.

Full text

Abstract:

The present paper explores in totality the Mimetic or Creative imitative power in creative writers and visual painters. Giving a befitting reply to his master, Plato condemned poets and painters on the grounds that they lack originality. They are mere imitators and their creation is thrice removed from truth and reality. Aristotle in his magnum opus, Poetics, starts with this mimesis thing and goes at length telling that Mimesis or Imitation is central to existence. We human beings are better developed than brute beasts primarily because we have the highest imitating power. Plato and Aristotle both take into consideration the poets. Plato criticizing him and Aristotle accolade him on grounds on mimetic arts. As it delves deeper into the idea it explores that besides imitation, it is instinctual in nature and the other instinct is for rhythm and harmony. Persons endowed with these two natural gifts ultimately give rise to poetry. Poetry after its birth diverged into two directions the graver spirits imitated the lives of nobler men and trivial ones the actions of meaner men. Thus was born tragedy and comedy.

APA, Harvard, Vancouver, ISO, and other styles

44

Tarán, Leonardo. "The Text of Aristotle’s Poetics in the Codex Parisinus Graecus 2038." Mnemosyne 69, no. 5 (September 16, 2016): 785–98. http://dx.doi.org/10.1163/1568525x-12341983.

Full text

Abstract:

This article analyzes the text of Aristotle’s Poetics in Parisinus Graecus 2038. There have been recent attempts to consider that this ms, written around 1470 by Andronicos Callistos, contains primary readings. One must distinguish readings which are based on the scribe’s analysis of the context, many of which coincide with those of the Arabic translation, from other cases where Andronicos tried to improve on readings of the paradosis. In the latter case, his attempts are nothing but either inferior readings or lectiones faciliores. This paper is especially concerned with Richard Janko’s review of Tarán-Gutas’ 2012 edition of the Poetics (Brill). Centanni, Janko, and McOsker are now the main proponents of the reevaluation of Parisinus 2038 and the text of the Aldine edition of 1508. The author considers that such an approach is detrimental to the study of this difficult work.

APA, Harvard, Vancouver, ISO, and other styles

45

Kostkiewiczowa, Teresa. "Poetics Then and Now." Tematy i Konteksty specjalny 1(2020) (2020): 31–42. http://dx.doi.org/10.15584/tik.spec.eng.2020.2.

Full text

Abstract:

The meaning of the word “poetics,” as derived from Aristotle’s understanding given in Poetics, points to the ways of creating verbal works, their components and connections as well as the formation of utterances. Poetics presents a fundamental set of terms referring to a literary work, which are still used and, in fact, are indispensable in all areas of contemporary literary, as well as cultural studies. Due to the changes in the field of literature itself, this set of terms and notions is constantly being updated, and it is still open in terms of both its components and their senses. It constitutes a conceptual framework, some elements of which are universal and operational in nature, and some connected with a particular cognitive horizon and a certain way of perceiving and understanding literature. Poetics is not a permanent theoretical model of literariness, nor is it a set of instructions determining the interpretation of a literary work. It aims at establishing certain testable tools which are indispensable not only in literary studies, but also in studying all other forms having a semiotic content (intersemiotic poetics). For this reason, certain basic terms and notions applied in poetics can be seen as important epistemological categories through which the human mind perceives the world.

APA, Harvard, Vancouver, ISO, and other styles

46

Oh, Ji-Eun. "The Plot as a Universal and the Unexpectedness in Aristotle’s Poetics." Korean Journal of Philosophy 144 (August 31, 2020): 31–57. http://dx.doi.org/10.18694/kjp.2020.8.144.31.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Pitari, Paolo. "The Problem of Literary Truth in Plato’s Republic and Aristotle’s Poetics." Literature 1, no. 1 (August 5, 2021): 14–23. http://dx.doi.org/10.3390/literature1010003.

Full text

Abstract:

In contemporary literary theory, Plato is often cited as the original repudiator of literary truth, and Aristotle as he who set down that literature is “imitation,” thus himself involuntarily banning literature from truth. This essay argues that these interpretations adulterate the original arguments of Plato and Aristotle, who both believed in literary truth. We—literary theorists and philosophers of literature—should recognize this and rethink our interpretation of these ancient texts. This will, in turn, lead us to ask better questions about the nature of literary truth and value.

APA, Harvard, Vancouver, ISO, and other styles

48

Oh, Ji-Eun. "The Definition of Tragedy and “Outside the Drama” in Aristotle’s Poetics." Korean Journal of Philosophy 150 (February 28, 2022): 79–109. http://dx.doi.org/10.18694/kjp.2022.2.150.79.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Kior, V. "ARISTOTLE’S “POETICS” AND THE CONCEPT OF MEMORY: LITERARY ASPECT OF ANALYSIS." International Humanitarian University Herald. Philology 2, no. 42 (2019): 134–36. http://dx.doi.org/10.32841/2409-1154.2019.42.2.33.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Lozinskaya, Evgeniia. "AFTER WEINBERG. BOOK REVIEW: THE RECEPTION OF ARISTOTLE’S POETICS IN THE ITALIAN RENAISSANCE AND BEYOND. NEW DIRECTIONS IN CRITICISM / ED. BY BRAZEAU B." RZ-Literaturovedenie, no. 1 (2021): 23–52. http://dx.doi.org/10.31249/lit/2021.01.02.

Full text

Abstract:

The book written by an international team of scholars and edited by B. Brazeau explores literary criticism and reception of Aristotle's «Poetics» in early modern Italy. Revisiting the «intellectual history» of Renaissance poetic studies written by Bernard Weinberg in 1960-s, the contributors find its own place whithin the 2000-years long tradition of translations, commentaries and polemic treatises. The authors apply new methods from book history, translation studies, history of emotions and classical reception to early modern Italian texts, placing them in dialogue with 20th-century literary theory, and thus map out avenues for future study.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Aristotle’s Poetics'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles