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Добірка наукової літератури з теми "Aristotle. Poetics"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 20 лютого 2023

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Статті в журналах з теми "Aristotle. Poetics"

1

Bartky, Elliot. "Plato and the Politics of Aristotle's Poetics." Review of Politics 54, no. 4 (1992): 589–620. http://dx.doi.org/10.1017/s0034670500016077.

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This article challenges the view that Aristotle's Poetics provides a defense against Plato's assault on poetry. I argue that Aristotle's discussion of poetry is at least as critical of the poetic depiction of the city and the gods as is the Platonic account. In the Poetics Aristotle does break with Plato in order to establish poetry's independence from philosophy. Aristotle's account of poetry as an independent activity should not, however, be read as a defense of poetry against Plato's subordination of poetry to philosophy. Instead, it is argued that Aristotle establishes poetry's independence from philosophy as a corrective to Plato's resort to poetry, thereby establishing that philosophy is completely autonomous from poetry.

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2

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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3

Heath, Malcolm. "Cognition in Aristotle's Poetics." Mnemosyne 62, no. 1 (2009): 51–75. http://dx.doi.org/10.1163/156852508x252876.

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Анотація:

AbstractThis paper examines Aristotle's understanding of the contributions of perceptual and rational cognition to the composition and reception of poetry. An initial outline of Aristotle's cognitive psychology shows that Aristotelian perception is sufficiently powerful to sustain very rich, complex patterns of behaviour in human as well as non-human animals, and examines the interaction between perception (cognition of the particular and the 'that') and the distinctive capacity for reason (which makes possible cognition of the universal and the 'why') in human behaviour. The rest of the paper applies this framework to a number of problems in the Poetics: (i) If Aristotelian tekhnê is defined as a productive disposition involving reason, how can poetic tekhnê be manifested in the work of poets who work by non-rational habit or talent? (ii) Why does Aristotle believe that the pleasure taken in imitation qua imitation involves rational inference? (iii) What does Aristotle mean when he contrasts history (concerned with the particular) and poetry (concerned with the universal)? (iv) How is Aristotle's insistence on universality and rationality in the construction of poetic plots to be reconciled with his willingness to tolerate irrationalities and implausibilities?

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4

Nirwana, Aditya. "Sekelumit tentang Risalah “Poetics”, karya Aristotle (384-322 SM)." KLAUSA (Kajian Linguistik, Pembelajaran Bahasa, dan Sastra) 2, no. 01 (March 19, 2019): 51–63. http://dx.doi.org/10.33479/klausa.v2i01.147.

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Poetics atau Puitika, merupaka karya Aristoteles yang menyajikan pokok-pokok pemikirannya tentang estetika, khususnya drama. Beberapa hal didalamnya meliputi bentuk plot dan perwatakan dalam drama, perumitan, perbedaan diantara beragam jenis puisi atau tragedi. Artikel ini bertujuan untuk merangkum dan memberikan sedikit ulasan terhadap pokok-pokok pemikiran Aristoteles di dalam Poetics, khususnya yang terkait dengan unsur-unsur Tragedi, yakni : 1) Alur/Plot; 2) Watak/Karakter dan Perwatakan; 3). Pemikiran (Tought); 4) Diksi; 5) Nyanyian dan Spectacle (Tontonan); dan 6) Tentang Nasib, Adegan Tragis, dan Kengerian. Dari pembacaan yang telah dilakukan, ditemukan bahwa Aristoteles mendefinisikan tragedi sebagai Mimesis Praxeos, "imitation of action". "Praxis" atau "Tindakan" dalam konteks ini sering dimaknai merujuk pada tindakan yang disengaja dalam keadaan rasional dan sadar. Hal ini memiliki konsep mimesis yang berbeda dangan mimesis dalam korpus Platon. Di samping itu, di dalam Poetics, nampak pemikiran Aristotle yang cenderung Formalistik, meskipun pada akhirnya bercorak fungsional, artinya apa yang sudah disampaikan Aristotle dalam Poetics mengenai Tragedi atau seni drama yang baik, bermuara pada sajian tontonan yang bermutu dan mendidik. Hal ini juga dapat dikatakan bahwa sajian drama yang baik menjadikan masyarakat memperoleh pengertian tentang keutamaan moral. Alih-alih formalistik, pemikiran Aristotle berujung pada fungsionalisme.

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5

Balderston, Daniel. "Borges, Averroes, Aristotle: The Poetics of Poetics." Hispania 79, no. 2 (May 1996): 201. http://dx.doi.org/10.2307/344881.

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6

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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Анотація:

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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7

FINKELBERG, MARGALIT. "ARISTOTLE AND EPISODIC TRAGEDY." Greece and Rome 53, no. 1 (April 2006): 60–72. http://dx.doi.org/10.1017/s0017383506000039.

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It is no exaggeration to say that Aristotle's Poetics is one of the most influential documents in the history of Western tradition. Not only, after its re-discovery in the early sixteenth century, did it dominate literary theory and practice for no less than three hundred years. Even after it had lost its privileged status – first to the alternative theories of literature brought forth by the Romantic movement and then to the literary theory and practice of twentieth-century modernism – the Poetics still retained its role of the normative text in opposition to which those new theories were being formulated. It will suffice to bring to mind the explicitly non-Aristotelian theory of drama developed by Bertold Brecht to see that, even when rejected, it was the Poetics that dictated the agenda of the theorists.This has changed in the last thirty years, with the emergence of post-modern literary theory. Although in the questioning of the notions of closure, of artistic illusion, of unity of plot the post-modern theory owes much more than it cares to admit to such modernists as Brecht or Adorno and through them to Aristotle, the damnatio memoriae it has imposed on the Poetics is so thorough that some theorists seem to be hardly aware of the very fact of its existence. This is probably why many theorists, in their privileging of emotional distancing over identification, meta-theatrality over illusion, formal and semantic openness over determinacy and closure, find their models in Chinese, Japanese, Indian, and other non-Western literary traditions rather than in ancient Greece. That is to say, in so far as Aristotle is no longer considered relevant to literary theory, Greek literary tradition too is not considered relevant. The tacit presupposition on which this attitude is based is that Aristotle's Poetics adequately represents ancient Greek literary practice.

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Trueba Atienza, Carmen. "El error poético en Aristóteles." Theoría. Revista del Colegio de Filosofía, no. 10 (June 1, 2001): 11–21. http://dx.doi.org/10.22201/ffyl.16656415p.2000.10.245.

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Анотація:

The question of the poetic error is treated by Aristotle in the context of his analysis of mimesis or poetic imitation, and constitutes a key element for the adequate comprehension of his mimetic theory of art. In this article, the author demonstrates that the Aristotelian notion of poetic error acquires an artistic or poetic sense, based on relevant passages of his Poetics. The author maintains that the notion of poetic error indicates that Aristotle recognizes some degree of autonomy to art concerning politics, ethics, and science.

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9

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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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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Анотація:

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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Більше джерел

Дисертації з теми "Aristotle. Poetics"

1

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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2

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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3

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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4

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

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Анотація:

Orientador: Trajano Augusto Ricca Vieira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-07T07:28:44Z (GMT). No. of bitstreams: 1 Barriviera_Alessandro_M.pdf: 27896667 bytes, checksum: 2b246e86e231acf8419b696321599ee5 (MD5) Previous issue date: 2006
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
Mestrado
Mestre em Linguística

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5

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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Анотація:

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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6

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
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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7

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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8

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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9

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.
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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10

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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Книги з теми "Aristotle. Poetics"

1

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

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2

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

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3

Aristotle On poetics. South Bend, Ind: St. Augustine's Press, 2001.

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4

McLeish, Kenneth. Aristotle. New York: Routledge, 1999.

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5

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

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6

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

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7

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

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8

Amélie, Rorty, ed. Essays on Aristotle's Poetics. Princeton, N.J: Princeton University Press, 1992.

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9

Øivind, Andersen, and Haarberg John, eds. Making sense of Aristotle: Essays in poetics. London: Gerald Duckworth & Co., 2001.

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10

Aristotle's Poetics: The poetry of philosophy. Lanham, Md: Rowman & Littlefield Publishers, 1992.

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Частини книг з теми "Aristotle. Poetics"

1

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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2

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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3

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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4

Gleckman, Jason. "The Three Components of Free Will in Plato and Aristotle: Thumos, Reason, and Deliberative Reason." In Shakespeare and Protestant Poetics, 231–45. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-32-9599-5_12.

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5

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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6

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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7

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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8

Rapp, Christof. "Rhetorik und Poetik." In Aristoteles-Handbuch, 168–73. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05742-6_21.

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9

Newiger, Hans-Joachim. "Zu Aristoteles’ Poetik." In Drama und Theater, 203–18. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-04231-6_13.

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10

"RHETORIC AND POETICS." In Aristotle, 297–319. Routledge, 2004. http://dx.doi.org/10.4324/9780203379530-15.

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Звіти організацій з теми "Aristotle. Poetics"

1

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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