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Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 20 лютого 2023

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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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Анотація:

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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Анотація:

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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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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8

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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10

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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11

Papadopoulou, Maria. "Aristotle & meaningful art." Adult Education Critical Issues 2, no. 2 (December 30, 2022): 34–46. http://dx.doi.org/10.12681/haea.31490.

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Τhis article approaches the philosophical work of Aristotle, because it is the basis of all later philosophy. The universality that distinguishes Aristotelian thought and the fundamental truths contained in it make his philosophical view great, universal and timeless with deep insight. In this context, this study focuses mainly on Aristotle's work, Poetics, which mostly refers to tragedy, and derives some elements regarding the ethical dimension and happiness from his work Nicomachean Ethics.

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12

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.

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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.

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13

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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14

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.

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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.

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15

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.

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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”.

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16

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.

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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.

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17

Gardella, Mariana. "Aristotle on Riddle." Ancient Philosophy 42, no. 1 (2022): 233–49. http://dx.doi.org/10.5840/ancientphil20224218.

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Aristotle presents two different approaches to riddle in the Poetics and the Rhetoric. In this paper, I intend to argue that, despite meaningful differences, these two views on riddle are not contradictory, but rather complementary. Taken together, they provide a valuable explanation of the structure, as well as the cognitive function, of riddle.

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18

Bartky, Elliot. "Aristotle and the Politics of Herodotus's History." Review of Politics 64, no. 3 (2002): 445–68. http://dx.doi.org/10.1017/s0034670500034975.

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In the Poetics, Aristotle criticizes Herodotus by claiming that poetry is more philosophical and more serious than history. Aristotle's remark may be understood as a defense of poetry against Herodotus's attempt to supplant the political teaching of the poets and the wise men. Aristotle aligns poetry with philosophy because the poets' political teaching serves the city at the same time that it anticipates political philosophy. In the second section of the article Herodotus's quarrel with the political teaching of the poets, especially Homer, is considered in light of Aristotle's account of the poets. Approaching Herodotus in this manner underscores the significance, for Aristotle, of the politics of Herodotus's History. The third section of the article begins with a discussion of Herodotus's indebtedness to, and difference from, the pre-Socratic philosophers, and goes on to consider Herodotus's quarrel with the wise men. Herodotus's quarrel with the poets and the wise men provides us with a better idea of why Aristotle sought to associate poetry with philosophy, and distinguish them from history.

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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.

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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.

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20

Mayhew, Robert. "ARISTOTLE'S BIOLOGY AND HIS LOST HOMERIC PUZZLES." Classical Quarterly 65, no. 1 (April 2, 2015): 109–33. http://dx.doi.org/10.1017/s0009838814000846.

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Diogenes Laertius' list of Aristotle's works includes a Homeric Puzzles (Ἀπορημάτων Ὁμηρικῶν) in six books (5.26, no. 119), as does the list in the biography of Aristotle attributed to Hesychius (no. 106). This latter also includes a Homeric Problems (Προβλημάτων Ὁμηρικῶν) in ten books (no. 147), which appears to be the same as an item in the biography (extant in Arabic) attributed to Ptolemy al-Gharib (no. 104). The later and more derivative Vita Marciana attributes to Aristotle a Homeric Questions (Ὁμηρικὰ ζητήματα). The only other reference to the title of such a work by Aristotle is from the anonymous Antiatticista, a second-century a.d. lexicon (s.v. βασίλισσα): ‘They say Alcaeus the comic poet and Aristotle in Homeric Puzzles said this.’ Finally, Poetics 25 – which begins περὶ δὲ προβλημάτων καὶ λύσεων – is a summary, with examples, of just such a work, and a description of how to undertake such an inquiry.

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21

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.

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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.

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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.

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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.

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23

Roberts, Deborah H. "Aristotle, Poetics I, with the Tractatus Coislinianus." Ancient Philosophy 12, no. 2 (1992): 458–61. http://dx.doi.org/10.5840/ancientphil199212225.

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24

Golden, Leon, Aristotle, and Stephen Halliwell. "The Poetics of Aristotle: Translation and Commentary." Classical World 83, no. 1 (1989): 66. http://dx.doi.org/10.2307/4350533.

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25

Cho, Eungsoon. "A Critical Essay on Aristotle`s Poetics." DAEGU HISTORICAL REVIEW 119 (May 31, 2015): 393–430. http://dx.doi.org/10.17751/dhr.119.393.

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26

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.

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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.

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27

Finkelberg, Margalit. "Homer and Traditional Poetics." Trends in Classics 12, no. 1 (June 25, 2020): 5–15. http://dx.doi.org/10.1515/tc-2020-0002.

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AbstractAlthough Homer refers to the art of poetry in terms closely similar to those used by oral traditional poets interviewed by Parry and Lord, his own poems do not follow the poetics of a point-by-point narrative succession that they themselves proclaim. This is not yet to say that in ancient Greece there were no epic poems for which such traditional poetics would effectively account. The poems of the Epic Cycle, whose incompatibility with the narrative strategies of the Homeric epics was highlighted as early as Aristotle, are one such example. The fact that, although he repeatedly refers to the practice of traditional poetry, Homer is silent on the matter of his own poetic practice which differs markedly from it, raises the question of whether the Iliad and the Odyssey can be considered traditional poems in the proper sense of the word.

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Nogovitsin, Oleg P. "CHEKHOV'S DRAMA AND THE "POETICS" OF THE ARISTOTLE." RSUH/RGGU Bulletin. Series Psychology. Pedagogics. Education, no. 1 (2017): 91–107. http://dx.doi.org/10.28995/2073-6398-2017-1-91-107.

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29

Paton Walsh, Jill. "The Poetics of Aristotle as a Practical Guide." Lion and the Unicorn 29, no. 2 (2005): 211–21. http://dx.doi.org/10.1353/uni.2005.0037.

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30

Sands, Danielle. "The Poetics of Sleep: From Aristotle to Nancy." Textual Practice 29, no. 4 (April 16, 2015): 784–87. http://dx.doi.org/10.1080/0950236x.2015.1031548.

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31

Mleynek, Sherryll. "Abraham, Aristotle, and God The Poetics of Sacrifice." Journal of the American Academy of Religion LXII, no. 1 (1994): 107–21. http://dx.doi.org/10.1093/jaarel/lxii.1.107.

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32

Kallay, Jasmina. "Cyber-Aristotle: towards a poetics for interactive screenwriting." Journal of Screenwriting 1, no. 1 (January 1, 2010): 99–112. http://dx.doi.org/10.1386/josc.1.1.99/1.

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Hardy, F. M. "The Poetics of Sleep: From Aristotle to Nancy." French Studies 69, no. 2 (April 1, 2015): 279. http://dx.doi.org/10.1093/fs/knv070.

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34

Nikolaidou-Arabatzi, Smaro. "CHORAL PROJECTIONS AND EMBOLIMA IN EURIPIDES' TRAGEDIES." Greece and Rome 62, no. 1 (March 25, 2015): 25–47. http://dx.doi.org/10.1017/s0017383514000229.

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In his Poetics Aristotle argued that the chorus being one of the actors, as in Sophocles, was its finest function, while he criticized Euripides' choruses for not being part of the whole and not sharing in the action. Aristotle also mentioned that in the work of other tragic poets (probably from the late fifth century onwards) the chorus's odes stood outside the context of the dramatic myth, and named these odes embolima, ascribing their origin to Agathon (who was active in the last quarter of the fifth century bc). So we should not assume that in Aristotle's view Euripides was responsible for paving the way for the practice of the embolima. However, it is at least certain that, in his opinion, Euripides' choral odes were less dependent upon the dramatic plot than those of Sophocles.

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35

Barnes, Daniel. "THE ART OF TRAGEDY." Think 10, no. 28 (2011): 41–51. http://dx.doi.org/10.1017/s1477175611000017.

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In this essay, I want to provide an introduction to Aristotle's theory of the Greek Tragedy, which he outlines in his book, the Poetics. Many philosophers since Aristotle, including Friedrich Nietzsche and Walter Benjamin, have analysed tragic art and developed their own theories of how it works and what it is for. What makes Aristotle's theory interesting is that it is as relevant to art today as it was in Ancient Greece because it explains the features of not just tragic art, but of the films and stories that we enjoy today. I will explain the features that Aristotle says make a good tragic play and give examples of them from popular culture. The examples I give will be from tragedy, but also from romance, crime and fantasy to demonstrate how he has outlined, not just the features of Greek Tragedy, but also the internal workings of the drama that we enjoy today. The contemporary relevance of Aristotle's theory is in the fact that the features he outlines are basic features of great stories, which I think is best illustrated by applying Aristotle's analysis to popular Hollywood movies.

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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.

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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.

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Heath, Malcolm. "Aristotle's Poetics - Stephen Halliwell: The Poetics of Aristotle (Translated, with Commentary). Pp. x + 197. London: Duckworth, 1987. £19.50 (paper, £8.95)." Classical Review 38, no. 2 (October 1988): 231–33. http://dx.doi.org/10.1017/s0009840x00121250.

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38

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.

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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.

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Adeleke, Duro. "Poetic Exploration of Obasa’s Prolegomenous Poetry." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–43. http://dx.doi.org/10.32473/ysr.v5i1.130057.

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Mere mentioning of poetics often ignites the memory of Aristotle whose admiration is hinged on the elegance and clarity of his style in poetics. Tis is as a result of the historic influence of poetics or aesthetics as well as the quality of its thought. Tus, poetics is not devoid of philosophical nuances. Based on this premise, an attempt is made here to explore the poetic strands in Obasa’s trilogy, wherein Yorubá proverbs are strung together. The paper, therefore, considers aesthetic category of artistic mimesis, intertextuality and components of all diction alongside stylistic elements because the principal task of poetics is to measure its legitimate domain in language. Tus, it is averred that literature depends on linguistic structure for its existence since language is the substance of literature (in our own instance, poetry). The essay adopts an eclectic theoretical approach since Obasa’s craftsmanship and subject-matter span an avalanche of forms and structures imbued with stylistic features. Primary data are largely drawn from his anthologies which facilitate the content analysis. In its findings, the paper has brought to the fore the fact that Obasa employed adaptation and mimesis in his presentation creatively, ̣ while different stylistic elements in his trilogy are replete with deviation. An attempt is made to bring into bold relief the suggestion that metaphor forms the hub of all other tropes that give grandeur to poetics in Obasa.

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40

Rosenmeyer, Thomas G., and Richard Janko. "Aristotle on Comedy: Towards a Reconstruction of Poetics II." Phoenix 39, no. 4 (1985): 392. http://dx.doi.org/10.2307/1088406.

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41

Ford, Andrew, and Richard Janko. "Aristotle on Comedy: Towards a Reconstruction of Poetics II." Classical World 79, no. 6 (1986): 426. http://dx.doi.org/10.2307/4349964.

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42

Golden, Leon, and Richard Janko. "Aristotle on Comedy: Towards a Reconstruction of Poetics II." American Journal of Philology 107, no. 3 (1986): 440. http://dx.doi.org/10.2307/294706.

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43

Belfiore, Elizabeth. "ΠΕΡΙΠΕΤΕΙΑ as Discontinuous Action: Aristotle "Poetics" 11. 1452a22-29". Classical Philology 83, № 3 (липень 1988): 183–94. http://dx.doi.org/10.1086/367103.

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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.

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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.

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45

Hart, Jonathan-Locke. "Metaphor: Poetry, Philosophy, Rhetoric." Rilce. Revista de Filología Hispánica 38, no. 2 (June 20, 2022): 666–94. http://dx.doi.org/10.15581/008.38.2.666-94.

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This article works backwards by contextualizing the metaphorical explosion of metaphor, especially in the last century or so, and works back to Plato and Aristotle, who help us to see the outlines of metaphor in relation to poetics, rhetoric, philosophy and politics, as well as the critical and theoretical issues arising subsequently down to the present age, including the views of Zoltán Kövecses, Northrop Frye, Paul Ricoeur, Hegel, Shakespeare, Thomas Aquinas and others. The nub of the matter is whether metaphor helps us get at the core of philosophy, that is truth, justice and beauty, the good life, or whether it deflects and deludes or both. My argument is that they do both for Plato and even for Aristotle, who is less severe on poetry and on poetic mimesis than is Plato. This friction between actual and fictional worlds might be resolved or at least meet in the possible.

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46

Hodgkins, Hope Howell. "Rhetoric versus Poetic: High Modernist Literature and the Cult of Belief." Rhetorica 16, no. 2 (1998): 201–25. http://dx.doi.org/10.1525/rh.1998.16.2.201.

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Abstract: High-modernist writers professed a disdain for rhetoric and yet found it hard to escape. They scorned the artifice of traditional, overt rhetoric and they did not wish to acknowledge that all communication is rhetorical, whether frankly or covertly. They especially distrusted “persuasion by proof” just as they distrusted traditional religion, aversions which had significant consequences for modernist literature. Modernists such as Pound favored poetry over the more frankly rhetorical genre of fiction. They valued the poet's privilege, first articulated by Aristotle and later by Sidney, of writing only of possibilities and therefore escaping the constraints of rhetoric and of historical veracity. Nevertheless, in order to justify their poetics, these modernists developed the concept of poetic belief first popularized by Matthew Arnold and elaborated upon by I. A. Richards and T. S. Eliot. Ultimately that modernist poetics became not only a substitute for religion but a new form of the rhetoric which modernists had hoped to avoid. The poetic theory helped the literature create a covert religious rhetoric that frequently denied its own existence in a ploy for audience belief.

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47

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.

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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.

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48

Scott, Gregory. "Dance and Drama in Aristotle's Dramatics (aka Poetics): New Principles from an Ancient Treatise." Congress on Research in Dance Conference Proceedings 2016 (2016): 369–78. http://dx.doi.org/10.1017/cor.2016.49.

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In previous publications I demonstrated that dance and music are essential conditions in the definition of tragedy for Aristotle. This opens the door for a re-examination of the place of theatrical dance in the work usually considered to be the most influential treatise on drama in Western culture. Here I begin to explore how the principles of dance criticism might therefore now be developed, and I also discuss whether Aristotle modifies Plato's own critical principles pertaining to choral art (including dance) from Laws II.

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49

Meadow, Robert. "Book review: The Poetics of Sleep: From Aristotle to Nancy." Cultural Sociology 8, no. 3 (August 21, 2014): 369–70. http://dx.doi.org/10.1177/1749975514545584b.

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50

Kirby, John T. "Updating Aristotle: A New Norton Critical Edition of the Poetics." Style 52, no. 4 (2018): 494–507. http://dx.doi.org/10.1353/sty.2018.0048.

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