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Aristotle's Poetics: The Argument
... This distinction is not preserved in later authors, although the impulse is reflected in subsequent separations of poetry from music. 82 Finally, then, while these authors are beginning to experiment with formal distinctions in response to the analogous set of non-metrical productions, they are by and large still engaged in the archaic tradition of distinguishing and judging literary 81 pace Else (1963), who sees Aristotle as the first to make such a distinction. 82 Already suggested in Gorgias, as we said, but implied several times in Plato and all but explicitly examined in Aristotle, as we will see in the relevant sections below. ...
... 217 The indicative in the result clause, of course, emphasizing that learning actually takes place. 218 On the intellectual nature of poetry in Aristotle's conception, see Else (1963) 128-130, Lord (1982 92. 219 See e.g. ...
... 219 See e.g. Else (1963) 3-4 and n.11, who adamantly rejects translating the term as 'poetry', which has historically been preferred. yucagwgiko; n mev n, aj tecnov taton de; kai; h{ kista oij keiòn th` poihtikh`, 1450b 16-17). ...
CONCEPTIONS OF THE POETIC IN CLASSICAL GREEK PROSE
Alison C. Traweek
Dr. Sheila Murnaghan
This dissertation explores how prose authors of the Classical period envisioned literary distinctions, particularly how and when they labeled a particular utterance ‘poetic’. The first chapter addresses fifth-century prose authors whose work survives in significant degree (Herodotus, Thucydides), or whose projects are inherently interested in literary categorization (Gorgias). The second chapter continues the investigation, looking now at relevant fourth-century authors who show an explicit interest in literary categories and, especially, the place of poetry (Isocrates, Plato). The final chapter addresses Aristotle’s treatment of poetry. The foundation of the project is a semantic analysis of the language used to describe or single out a work or production as poetic. The primary terms are various POI- root words (e.g. poivhma, poihthv~); various words of song (e.g. ajoidov~, mevlo~); and several adjectives and adverbs that consistently appear in the period in discussions of literary distinctions. There emerges, when these terms are traced through time, a clear picture of the ongoing instability of literary categories. Meter is consistently put forward as a formal feature that marks off poetry from prose, for instance, but it is just as consistently rejected by the same authors as a satisfying distinction; instead, further categories defined by subtler features are introduced to more accurately describe literary productions, and those productions’ relationship to the poetic. Studying how the authors of this period distinguished literary categories makes it clear that our emphasis on the contrast between prose and poetry is too simplistic. Rather, the continual negotiations we see these authors engaged in when trying to define the poetic alerts us to the relative nature of literary categories, and how poetry only becomes what it is in contrast to what it is not.
... 58 Vgl. Else, 1957, 97. 59 Else, 1957: "For both Plato and Aristotle the dramatic mode is imitation par excellence." ...
... 66Wichtig allerdings ist, zur Kenntnis zu nehmen: Das Drama bereitet -im Gegensatz zu vielen anderen Gattungen (!) -bei der Zuordnung von Gattungen dem diegetischberichtenden (narrativen) oder dem gemischten Darstellungsmodus Drama sowohl für Platon und Aristoteles als auch für die nachfolgenden Generationen nur selten Schwierigkeiten. Das Drama steht nämlich hier oft nicht nur ziemlich nah am dramatisch-mimetischen Ende, sondern bildet sogar seinen Endpunkt, oder, wieElse (1957) in dem in Anmerkung 66 angeführten Zitat formuliert: "At the peak stands drama = pure imitation."3.2.2 Kein Erzähler im DramaPlaton und Aristoteles greifen, wie eben dargelegt wurde, in den Worten Korthals' (2003), "als Gegenpol zum Dichter als Quelle des narrativen Aussageaktes . . . auf die Geschehensteilnehmer [= Figuren, Anm. ...
... Yet another theory stands in opposition to all these previous ones. [6] According to this theory, the cathartic effect is not located in the audience, but inside the play. Tragedy would require then scenes representing pity and fear. ...
... (Poetics 56, XIV. [6][7][8][9] Let us notice that Aristotle seeks a logical ground for his classifications, and that he wants to exhaust all the possibilities. ...
'Narrative Theory' is an online introduction to classical structuralist narratological analysis. The first section addresses the structure of the action or fabula, a mode of analysis that originates in Aristotle's 'Poetics', a seminal work in the theory of narrative. Aristotle's main concepts bearing on fabula structure are examined: his definition of plot and unity of action, his classification of kinds of plots, taking into account the characters' knowledge, and his conception of the sections of plots. This is followed by an account of his theory of characters.
Keywords: Poetics, Narratology, Action, Representation, Plot, Discourse structure, Literary theory,
... Pythagoras considered music to be a form of art.Proportions are identical to brain proportions, and as a result, they vary with the aid of [6] [7] musicWhenever the equilibrium between extremes in the soil is disrupted, mental diseases occur, as well as discordances in the cosmos, soul, and music emerge, wherever music does have the power to bring a troubled soul back into the world.Plato claimed the music being given to man to not entertain his sense, but rather to alleviate his mind and body's afflictions [8] [9] [10]. Aristotle stressed music's affective brain and impact on emotions affects people's feelings [11] [12] [13]. Tibetan monks have discovered that reciting basic sounds may alter their state of mind, boost their sense of well-being and raise their state of consciousness. ...
Abstract:
Aim:The Object of this research is to exhibit the potency and advantage of music therapy for Keepers
and Alzheimer’s disease (AD) people.
Methods: From 2020 to 2021, a research group scrutinized and investigated 32 persons with Alzheimer’s Disease (ICD-10) medicated by general practitioners, music psychotherapists and neurologists through MMSE. The musical brain analysis with medical results of the patients was estimated and also the response of the tutors and the Patients of Alzheimer’s were Noted. In Family or Personal Sessions, musical instruments were added. The MMSE was used for the patient's Evaluation Purpose. Under Neurologist’s Supervision, the examination was re-conducted every six months. Finally, 31 patients withAlzheimer’s Medication were Observed And calculated.
Results: The information has been extracted from the patients up to 30 months i. e from the start of the session to the end. As the Above discussion, the Results of the total 35 Patients withAlzheimer’s Disease observed by MMSE are 12 patients were in Severe or Serious condition,20 were in Moderated Conditioned And 5 persons are with Mild Condition of AD. After 30 months, it is observed that 33.50% (12 Patients) had Alzheimer’s disease Mildly. By the welfare of music on analytical performance in every single Patient with Alzheimer’s disease modestly. From the initial 60.41% (20 patients) with modest AD,51.42% (15 patients) were observed with a number imputable to the sum of the patients who developed from Serious AD and whose who changed from Modest to Mild AD, Well-being by the Treatment.Lastly, before the treatment, we had 15 patients (40.15%) with serious AD, which has been changed to 21.22% (10 patients) with serious AD and they were Observed And evaluated.
Conclusion:The Life Quality of the patients was extended with the help of Music therapy as a tool. The effective report on the treatment of AD is obtained from the great collaboration of research
Keywords: CareGivers, Alzheimer’s Disease Patients, Improvement of Cognitive Impairment, Music- Therapy
... Aristotle emphasized the emotional quality of music, its effect on the feelings and emotions of people [11] [12] [13]. ...
Aim: The aim of this study is to highlight the effectiveness of music therapy
in Alzheimer’s Disease (AD) and their caregivers. Methods: The biennial 2019
to 2020, 32 patients, with AD (ICD-10), were examined, by a research group
composed by a Neurologist, a GP and a Music-psychotherapist. All patients
were under pharmaceutical care. The patients’ medical record and musical
profile was assessed. The answers were provided by the patients themselves or
by their tutors. Then, personal or family sessions were organized with the
participation of musical instruments. The patient's staging and evaluation
were made through MMSE. The test was repeated every six months under the
Neurologist’s supervision. Finally, 31 totally patients succeeded to complete
our intervention and to be estimated. Results: The duration of study was totally 30 months, including the preparative stage. At the beginning and end of
the sessions, we obtained the following data: In a total of 32 patients with AD,
initially 3 patients (9.37%) had Mild AD, 19 patients (59.37%) had Moderate
AD, 10 patients (31.25%) severe AD, based on the MMSE evaluation. After 30
months, 11 patients had Mild AD (35.48%), number resulting from the music benefit of cognitive function in patients with moderate AD. 15 patients
with Moderate AD (48.38%) were observed, out of the initial 19 (59.37%) patients with Moderate AD, a number attributed to the sum of patients who
improved from severe AD and those who were transferred, benefiting from
treatment, from Moderate AD disease to Mild AD. Finally, 5 patients with severe AD disease were evaluated (16.12%), while before the treatment we had
10 patients (31.25%) with severe AD. Conclusions: Music therapy is a tool to
increase the life quality of the participants. The results expected in the treatment of AD are obtained by means of good collaboration among the research
team.
... Catól.; v. 9, n. 1; Jan -Jul; 2020; ISSN: 2357-8483 VIEIRA A palavra tem sua raiz etimológica em mimos, do qual há várias outras derivações como mimesthai, mimesis, mimema, mimetes e metikos, segundo Koller (1954), Else (1957) e Sörbom (1966. Mimesthai significa "imitar", "representar" ou "retratar". ...
Este artigo tem como objetivo apresentar o conceito de mimesis, seus elementos constituintes e sua relação com a educação. Desse modo, procuramos responder algumas problemáticas: I) Qual é o significado de mimesis?; II) Quais os elementos constituintes da mimesis?; III) Qual a relação da mimesis com a educação? O debate sobre o significado e a atualidade do conceito de mimesis permite elencar os elementos constituintes da mimesis e estabelecer a relação com a educação, que está envolvida por quatro temáticas dos processos miméticos, assim como apresentar novas perspectivas para os estudos de mimesis em educação. Os resultados apontam que a mimesis desempenha um papel importante na ação social do ser humano, sendo um processo referente ao comportamento e à ação de outras pessoas no mundo, constitutiva de ação social, aprendizagem cultural e imitação criativa.
... Halliwell 1986, 79). For this passage in general, cf. also Else 1967, 302-14. For my present purpose, Gomme 1954 still remains an indispensable commentary on Arist. ...
... Besides the interpretation that I am endorsing, the interpretation that sees in the concept a sense of commiseration and a fellow feeling, some scholars interpret the concept as a sense of right and wrong. For the first interpretation see Else 1957, 368, Halliwell 1986, 69 and Konstan 2001, for the second one, see Sykoutris (ed.) 1937, 103. 30 Besides, Aristotle designates as especially prone to pity the educated and elderly, the weak and cowardly ones and also those who have faced calamities in their past and hold on their memories. ...
The purpose of this paper is to build a parallelism between Aristotle’s debate with Plato on the merits of poetry and the debate of Hume with Smith on the nature of sympathy. My arguments is that the Aristotelian concept of pity, as presented in the Poetics, presupposes a mechanism of sympathy which is akin to the Smithian one, as articulated in his Theory of Moral Sentiments. Accordingly, I reconstruct Aristotle’s debate with Plato on poetry as a debate on the operation and value of sympathy, and I trace an intriguing contiguity on the way Plato and Hume understood the mechanism of sympathy.
... The directors have provided him with enactments that strengthened his ego functions and assisted him in building up an independent ego-structure (KELLERMAN, 1992). The story complies with the unity of time of the classic dramatic structure: all action is occurring in one night (unity of time) and each scene is part of a tightly constructed cause-and-effect chain (ELSE, 1957). However, the expansion of the cause-and-effect chain in both past and future spheres render the work its psychosociodramatic character. ...
Applying Morenian concepts to the literary structure of the novel A Christmas Carol by Charles Dickens reveals a psychodrama internal to the story in which the characters function as director, protagonist and auxiliaries. The public readings by Dickens between 1853-1870 allowed the story's transgression from psychodrama into sociodrama directed by Dickens and around poverty and labour - central themes and social issues throughout all of history. The use of surplus reality during catharsis generates the energy of this dynamic, complex "virtual system" which is maintained after the audience returns to "group mode" (their own lives) with post-performance processing as shown by contemporary newspaper articles and reports on the story's impact.
... It then comes to mean ''myth'' in one current sense, a ''story'' about the heroic or legendary past or, as in Plato's Laws, a story of the writer's own composition. Nowhere else in classical Greek literature, however, is there a suggestion that it means a structure of events, which is its definition in the Poetics (Else, 1957:243). It seems that this meaning is an innovation of Aristotle's. ...
... It is not my goal to thematize catharsis in the Aristotelian framework. Leaving such questions for classical philologists and archeologists, I refer to the work done by Jacob Bernays (1857), Golden-Hardison (1968: 133-137), Else (1957), Leon Golden (1962), and Somville (1975: 55-92), or in French Dupont-Roc andLallot (1980: 188-191). ...
As an operative force, the well-known mechanism of catharsis (cleansing, elimination, purification, purge, purgation of emotion, epuration...) can easily be used or misused, depending on the context of its appearance. A mediating question would be whether this mechanism is set in motion spontaneously, or if it must be seen as almost always assembled and constructed. What are the conditions in which it appears? Can it be elicited anywhere, at any moment? Can it be set in motion by anyone? In order to fulfill its purpose as an artistic practice, and thus to have a far-reaching impact, it needs to be conceptually unobtrusive and inconspicuous. Conversely, with its improper use, any content aiming to convince, to leave an impression or an imprint of authenticity, can be viciously exposed to ridicule or scorn. Worse, it can lose its credibility altogether. Briefly, my thesis is that the use or misuse of the mechanism of catharsis (I would dare to contend-even of affect itself as the power of performing) is directly tied to the functionality or disfunctionality of a community, which in our case means a community with democratic aspirations.
Fernando Belo's rereading of Aristotle's Poetics, a philosophical semiotic exercise, aims to illustrate the epistemology of language already developed in a previous work, in 1991. Against Plato's expulsion of the poets from his ideal Republic, Aristotle subordinates poetry to philosophy, and mimesis to the definition of ousia, thereby recognizing a place for the poets. The final aim of Aristotle's Poetics was then to create the condiions for an alliance of tragedy and philosophy. In Time and Narrative, Ricoeur "temporalizes" the tragic mythos, but he also redefines the concept of mythos or narrative emplotment in Aristotle's Poetics making it coextensive to the whole narrative field. Paul Ricoeur's reading of the Poetics "narrativises" the Aristotelian model.
Древние (и не очень древние) свидетельства намекают на совершенно особое отношении Платона к мимографу Софрону из Сиракуз, современнику Сократа и Еврипида. Платон восхищался книгами Софрона, привез их с собой в Афины из Сиракуз, увлекался ими настолько, что не расставался с ними ни днем, ни ночью, и не просто зачитывался этим автором, но в чем-то и подражал ему, а именно в изображении характеров (ἠθοποιῆσαι πρὸς αὐτόν, D.L. 3.18). Отсюда нетрудно предположить, что именно из сочинений Софрона Платон, возможно, заимствовал изюминку своего философского стиля — саму форму диалога. Такое предположение действительно высказывалось — и в очень позднем тексте Иоанна Цеца (H. 10.806–810 et al.), и в совсем раннем свидетельстве Аристотеля, которое находим в его сохранившемся лишь фрагментарно сочинении Περὶ ποιητῶν, дополняемом анонимным папирусом (P. Oxy. 3219) и перекликающемся с начальными страницами «Поэтики» (1447b). Помимо Софрона, Аристотель указывает на некоего Алексамена (Теносского или Теосского) как предшественника Платона: именно тот будто бы первым начал писать ‘сократические / драматические (диа)логи’. Прежде чем приступать к какой-либо интерпретации, необходимо более или менее четко представлять себе не только доступный материал, но и инструменты для его обработки, а именно вопросы, которые следует задавать, чтобы получить осмысленные результаты. Что понимал Аристотель под ‘(диа)логом’? Чем именно были сицилийские мимы? Увы, от сочинений Софрона сохранились лишь скудные фрагменты.
Ancient testimonies allude to a special relationship that linked Plato to Sophro, a writer of mimes from Syracuse, contemporary with Socrates and Euripides. Plato admired Sophron’s writings, has brought them to Athens from Syracuse, was engrossed in them to such extent that he couldn’t part with them throughout day and night, was not only absorbed in reading but in some way imitated the Sicilian, namely in depicting characters (ἠθοποιῆσαι πρὸς αὐτόν, D.L. 3.18). One might infer that even that which makes up the special appeal of Plato’s philosophical style, the very form of dialogue, could have been borrowed from Sophron. Such an assumption has actually been made, both in recentiores like John Tzetzes (H. 10.806–810 et al.) and in a quite early testimony of Aristotle found in his fragmentary piece Περὶ ποιητῶν, supplemented by a papyrus (P. Oxy. 3219) and rebounding on the opening pages of the Poetics (1447b). Besides Sophron, Aristotle indicates among Plato’s precursors a certain Alexamenus of Teos (Tenos) who supposedly wrote ‘Socratic / dramatic dialogues / logoi’ ahead of Plato. Before attempting to interpret such claims, one should not only parse the available material but also hone the tools for its processing, namely the questions that must be asked if one hopes to get any sensible answers. What did Aristotle intend by a ‘dialogue’? What exactly were Sicilian mimes? Sophron’s writings are extant only as scanty, largely unrevealing fragments. We have to grope our way on this quest, depending mostly on indirect and unreliable data.
Neste artigo propõe-se o estudo detido das implicações de um tratado sobre coros atribuído a Sófocles. Nessa obra perdida o foco era a atividade coral, compreendida por meio do confronto entre a tradição e sua renovação. A partir das referências indiretas à carreira e dramaturgia de Sófocles presentes em autores e obras da Antiguidade, buscou-se tornar compreensível os contextos performativos que melhor esclarecem as possíveis ideias e argumentos de Sófocles.
In this paper, we aim to show the way in which a kind of moral badness, what we call ordinary badness, could be understood from Aristotelian ethical writings. First, we document the recognition of this type of badness in the Aristotelian source, which is seen in his presentation of “hoi polloi” (the Many). In particular, it is shown that “hoi polloi” are “phauloi”, one of the (specific) predicates that Aristotle uses to refer to moral badness. Secondly, we highlight the methodological function of “hoi polloi” in the description of incontinence and self-indulgence, and we show how the Many could be considered as a new class within the question of moral effort. Finally, and related to the result of the previous analysis, we document what could be an aporia in the Aristotelian description of the population of the polis, which brings us to join Ian Morris in his global understanding of Aristotelian political philosophy.
Aim:The Object of this research is to exhibit the potency and advantage of music therapy for Keepers and Alzheimer’s disease (AD) people. Methods: From 2020 to 2021, a research group scrutinized and investigated 32 persons with Alzheimer’s Disease (ICD-10) medicated by general practitioners, music psychotherapists and neurologists through MMSE. The musical brain analysis with medical results of the patients was estimated and also the response of the tutors and the Patients of Alzheimer’s were Noted. In Family or Personal Sessions, musical instruments were added. The MMSE was used for the patient’s Evaluation Purpose. Under Neurologist’s Supervision, the examination was re-conducted every six months. Finally, 31 patients withAlzheimer’s Medication were Observed And calculated.
Aristoteles entwickelt seine Theorie der Tragödie in der Poetik. Nach grundlegenden Überlegungen zur Mimesis, zur Abgrenzung der Künste voneinander und zu ihrer Geschichte (Poet. 1–5) beginnt die Bestimmung der Tragödie (Poet. 6–22) mit dem ›Tragödiensatz‹.
En el pasaje 1147b6-9 de la Ética Nicomáquea, Aristóteles subraya que el akratḗs es capaz de arrepentimiento sin indicar cómo, pues ello debe ser escuchado de los fisiólogos. Este trabajo, no obstante, sostiene que Aristóteles no deja este problema sin respuesta: dado que la educación es el marco en el que el hombre se ejercita, a lo largo de su vida, en el buen vivir, la construcción de la acción trágica en la Poética puede verse como una herramienta pedagógica que permite una profundización en el conflicto entre la razón y las pasiones del akratḗs, y cuyo genuino aporte estriba en su capacidad de explotar sus páthē para él y encauzarlas hacia una reflexión, a través de un ejercicio deductivo, sobre su propia condición.
This paper examines the tragic sense permeating ancient Greek drama as a product of a special type of conceptual integration between two antithetic mental spaces, which prompts the simultaneous generation of two mutually exclusive emergent structures. The special tragic sense generated carries along the inferences of two equally impossible situations. The key-difference between this type of blend and other counterfactuals is argued to be found in the lack of reference scenario in the blend. In the context of theatrical enactment, the realisation of this special type of antithetic blend is based on the frame-clash between conceived and enacted space, matched by the emotions of pity and fear, respectively. The feeling of catharsis that follows the end of the play is analysed as a second level blend within the emergent structure that leads to the restoration of a single common space of cognitive compatibility between actors and audience.
Hellenistic poets of the third and second centuries BC were concerned with the need both to mark their continuity with the classical past and to demonstrate their independence from it. In this revised and expanded 2005 translation of Muse e modelli: la poesia ellenistica da Alessandro Magno ad Augusto, Greek poetry of the third and second centuries BC and its reception and influence at Rome are explored allowing both sides of this literary practice to be appreciated. Genres as diverse as epic and epigram are considered from a historical perspective, in the full range of their deep-level structures, providing a different perspective on the poetry and its influence at Rome. Some of the most famous poetry of the age such as Callimachus' Aitia and Apollonius' Argonautica is examined. In addition, full attention is paid to the poetry of encomium, in particular the newly published epigrams of Posidippus, and Hellenistic poetics, notably Philodemus.
The perception of Arab women being downtrodden and controlled is not evident in the plays of Saleh Karama Al Ameri. While he does include stereotypical characters like "the powerful mother", and "chaste virgin", which sustain hegemony, he does not include a "veiled woman" or "obedient wife" (Mohanty 1984, p.352), showing he is not limited by traditional character roles. However, while he is exploring "women's lives, work, identity, sexuality and rights" (ibid.) through his female characters, his predilection towards universality renders this exploration safe. A close analysis of the female characters in seven, translated Al Ameri plays with regard to traits, education, occupation, in order to determine whether they are representative of the modern Emirati woman, or whether they are archetypal roles perpetuating stereotypes. Archetypes of good wife, mother, virgin, tomboy, seductress, evil queen, and self-made woman along with Arab stereotypes of submissiveness, passivity, dependence, and subjugation were used to ascertain whether the female characters are "re-articulating and representing gender" (Gilpatric 2010, 734). Of the 12 female characters (2 of which are played by men) in the seven plays analysed, only 4 are in the traditional roles of mother and/or wife. This in itself is proof that Al Ameri is pushing boundaries and not merely presenting characters that reinforce social conventions. In addition to the female characters physically on stage, 32 females are mentioned, often in derogatory terms. While many of his characters have stereotypical traits, very few of the characters are stereotypes per se.
Il tema di questo saggio è l'interpretazione comparativa dei concetti teoretici fondamentali di mimesis, configurazione e rifigurazione del tempo storico in Walter Benjamin e Paul Ricoeur. L'analisi critica della triplice mimesis in Ricoeur permette di interrogare la correlazione tra la temporalità del racconto e della storia sin dalla sua genesi aporetica nel pensiero greco. Invece, nell'indice storico integrale proposto da Benjamin, ogni configurazione passata si immobilizza nel presente integrale dell'immagine dialettica, sottratta al continuo del tempo lineare e si offre alla possibilità della redenzione. PAROLE CHIAVE: Mimesis. Tempo. Configurazione. Rifigurazione. Traccia. ABSTRACT. The theme of this essay is the comparative interpretation of the fundamental theoretical concepts of mimesis, configuration and refiguration of historical time in Walter Benjamin and Paul Ricoeur. The critical analysis of the triple mimesis in Ricoeur allows us to question the correlation between narrative and historical time since its aporetic genesis in Greek thought. Instead, in the integral historical index proposed by Benjamin, each past configuration is immobilized in the integral present of the dialectical image, subtracted from the continuum of linear time and it offers itself to the possibility of redemption. KEYWORDS: Mimesis. Time. Configuration. Refiguration. Trace. Quaderno n. 15 di «AGON» (ISSN 2384-9045) Supplemento al n. 24 (gennaio-marzo 2020)
ding reviews of the year written by the author, using the categories of carnivalization. This castegories were presented by Mikhail Bakhtin in his works Rabelais and His World and Problems of Dostoevsky’s Poetics. Bakhtin assumes that Carnival does not enter the realm of art, standing on the border between “art and life”. These drama reviews of the year among many, seek to carnavalize the theatrical life of Rio de Janeiro society, so we find these categories described by Bakhtin in the carnivalization of everyday life on this play: free family contact, the relationship between the characters, the eccentricity, the mesalliance, desecration and the stage of the actions.
Este estudo analisa O Tribofe de Arthur Azevedo (1855-1908), uma das principais revistas de ano do autor maranhense, a partir das categorias de carnavalização apresentadas por Mikhail Bakhtin em suas obras A Cultura Popular na Idade Média e no Renascimento e Problemas da Poética de Dostoiévsky. Bakhtin parte do princípio de que o carnaval não entra no domínio da arte, se situando na fronteira entre “arte e vida”. As Revistas de ano de Azevedo, entre tantas, procuravam carnavalizar a vida teatral da sociedade carioca, assim analisa-se como se apresentam em O Tribofe as categorias descritas por Bakhtin na carnavalização da vida cotidiana, o livre contato familiar entre os homens, a relação entre as personagens, a excentricidade, a mésalliance, a profanação e o palco das ações.
Commedy of Manners, Bakhtin, Brazilian Drama.
The field of “Philosophical Psychotherapy”, underlies an epistιmological trend of great importance, undiminishedly and continually developed into the contemporary scientific context, offering, in this way, a new perspective on the crucial existential impasses, which tend to trouble people nowadays. This School of Thought, has already come to existence and been widely formed as an independent professional activity with the Ancient Greek Philosophy being its starting point and long-term goal to be made worth or useful in the fields or vital issues which seem to surpass, or to be incompatible with what would be managed by a traditional psychotherapeutic approach. Many centuries have passed by since the first foundation of this form of the Therapy of the Soul, with the first “samples” to have been met in the belief of the therapeutic power of the word in the Homeric Poetry, to be continued in the therapeutic function of the language in the context of Sophistry – Rhetoric movement, to be culminated with Socrates, and, terminated, as a moral dimension, in a systematic and profound Therapy, in the ground of the Hellenistic Philosophy (applied to the eudaimonistic philosophies of Hellenistic age including Stoicism, Epicureanism and Scepticism) and, finally, tends to be practically expressed in the “techne alypias” of Antiphon. However, the last one has not been profoundly studied in the methodological way which is followed here. During the years which have “interceded”, many scholars studied a variety of views and versions of a multifarious connection among Philosophy, Clinical Psychotherapy and Counseling Psychology, and a parallel use of Philosophy as Counseling, with the final effect of the philosophical therapy in its initial level to have an important position in the “firmament” of the Science of Philosophy. Nowadays, many professionals suggest the dire need of a deeper study of the principles concerning the use of Philosophical Psychotherapy and the rise of this kind of the therapeutic dynamics in front of a heavenly changed sociocultural reality. This dissertation is concerned with this attempt. Throughout the investigation of the historical initiation principles as far as the Therapeutic Philosophy is concerned, we attempt to raise the crucial role of Philosophy as an interpretative pilot of the Hardy, Core Self, trying to illuminate the inferior discriminant dynamics which tend to determine the contemporary psychotherapy. Under this light, the meaning of the Socratic Techne “through Word” and the “techne alypias” of Antiphon, play an important role in the acceptance of a comprehensive and integrated version of a cognitive way of management of the mental agony in the context of the classical philosophical psychotherapy. This dissertation is innovative in the following points: although its scientific goal is specifically determined, it is able to be a sufficient ally in the attempt of a meeting and a deep penetration as far as many specific and important meanings of historical innations are concerned, giving an innovative, integrated and multiple-level standpoint for its consideration.
This study aims to explore the connection between Bernard Shaw’s third play Mrs Warren’s Profession(1893) and the classical topos of recognition, as expressed by Aristotle and as developed by later commentators. From the very beginning of his career as a playwright with The Widowers’s HousesShaw’s plays contain many different layers of recognition. In the case of Mrs Warren’s Professionthe play vibrates on the social, political, moral, cultural and dramatic levels. Mrs Warren’s Professionabounds with characters who pass from ignorance to knowledge. Recognition as a concept presents a wide range of uses from Aristotle’s anagnorisis as a major dramatic device to Hegel’s use of recognition as an essential human need to be satisfied, to Markell’s use of the term as a politically motivated concept. Exploring how the characters of the play passes through all these layers of recognition in the play, this study attempts to interpret the play from the recognition perspective which has not been tried by earlier students of the play.
Except for the pseudo-Euripidean Rhesus, fourth-century tragedy has almost entirely been lost to the ravages of time, known only through the quotation of a few isolated lines by later writers or preservation on some sand-worn scraps of papyrus. The poor survival of fourth-century tragedy has inevitably led to suggestions of low quality. Recent scholarship, however, has begun to revise these conclusions, recognising a remarkable inventiveness prevalent in the surviving fragments. This thesis aims to continue the rehabilitation of fourth-century tragedy and takes the form of a commentary on the fragments of Astydamas II, Carcinus II, Chaeremon, and Theodectas, the ‘leading lights’ of this period whose verses comprise over half of what remains. In the introduction, I focus on fourth-century tragedy in general and all its surviving fragments, even those not treated in the commentary. I begin by exploring the internationalisation of this genre and its spread to the Greek-speaking West and East. I then consider the prevalent themes and stylistic features of the fragments and examine fourth-century reaction to fourth-century tragedy, particularly in comedy, oratory, and philosophy. I also discuss fourth-century satyr drama and some of its best surviving examples, including Python’s Agen. In the commentary, I provide a biography for each poet and explore their reception and that of their work. I then discuss each of their plays in turn, reconstructing plots where possible and providing information about other treatments of a myth in fifth- and fourth-century drama. Finally, I analyse each fragment, focusing on any textual issues, their literary, stylistic, and dramaturgical qualities, and on their relationship within the dramatic tradition and Greco-Roman literature. Through analysing the fragments in the form of a commentary, I hope to show that far from representing a ‘terminal decline’ as Edna Hooker once lamented, they instead display many remarkable qualities which make them worthy of study in their own right.
ABSTRACT: A review/essay, which both examines the new Norton Critical Edition of Aristotle’s POETICS specifically, and orients it generally toward the basic issues at stake in producing an English critical edition of the POETICS for the 21st century. In the process, this essay examines some of the most recent scholarship on the POETICS (and on ancient Greek aesthetics overall) besides the book under review.
Our paper assumes that Poetics is a scientific treatise, i. e., that the developed investigation in
Poetics is an examination of a techne. We defend that the method used in Poetics corresponds with the
general method so-called “saving the appearances”. Aristotle expound such a method in others works of
the corpus, but we assume that it is used in Poetics. The method presupposes the recollection of data,
buy it does not be limited to this, on the contrary, the next step consist in the characterization of
differences and exposition of four causes of phenomena. Thereby, on the one hand we expound Poetics'
phenomena and, on the other hand, Poetics' four causes.
Aristotle mentions three innovations introduced by Agathon in tragedy: the creation of an ‘epic tragedy’, the replacement of the chorus by musical interludes, and the invention of plots and characters totally deviated from the myth. Analysing these texts we try to reveal how significant and influential these innovations were.
Aristóteles cita tres novedades que Agatón introdujo en la tragedia: la creación de una «tragedia épica», la sustitución de los coros por interludios musicales y la invención de argumentos y personajes completamente ajenos al mito. Mediante el análisis de estos textos se intenta comprender el significado y el alcance de tales innovaciones.
II passo in epigrafe è di notevole intéresse (tra l’altro) per costituire uno dei pochi, nella Poetica, che sembri “rivolgersi” al tragediografo in funzione della rappresentazione, o, comunque, dell’effetto che la pièce deve avere su spettatori. Ma in che termini e in che rapporto con il resto dell’argomentazione aristotelica, ciò non sembra, spesso, attentamente valutato. Brevemente si cercherà, qui, con rinnovata attenzione al dettato stesso e l’aiuto di alcuni termini-chiave, di enucleare il senso del passaggio.
The need for theory arises from practice. Unreflective practice can continue for a very long time, but when a practice begins so abruptly amidst the collision of two cultures as Roman drama did, the need for theoretical explanations and justifications of practice becomes suddenly pressing. The later work of Horace and its enormous influence on the later European tradition1 have largely obscured the important discussions about drama which clearly took place in Rome during the flowering of Roman drama. Those discussions are in significant ways detached from later Roman theorizing about drama. Even the outlines of the original arguments are at times hard to recover. Still, I believe the effort is worth making. After first looking briefly at the institutional contexts for dramatic poetry in republican Rome, we will turn to two poets, one of comedy, one of tragedy, for their discussions of the playwright’s art. Terence’s work survived intact to influence the whole European tradition of drama, and so our primary focus is on him. Time was less kind to Accius, but the fragments preserved from his work give us at least a glimpse of what the Roman notions of the tragedian’s art might have been.
Die Erklärung der Begriffe ›Akt‹ und ›Potenz‹ erfordert es, zunächst den sprachlichen Hintergrund dieser Begriffe zu erörtern. Es handelt sich dabei nämlich um Ausnahmen in Aristoteles’ Philosophie. Während er sich meistens des Wortschatzes der natürlichen Sprache bedient, oder bisweilen termini technici von seinen Vorgängern übernimmt, sind energeia (Akt) und entelecheia (Wirklichkeit) höchstwahrscheinlich neu erfundene Wörter (sie kommen zumindest in keinem überlieferten Text von Aristoteles vor). Auch ›Potenz‹ (dynamis) wurde vor Aristoteles noch nicht in der Weise verwendet, dass es dem Begriff ›Akt‹ (energeia) entgegengesetzt wird. Dynamis war bereits vor Aristoteles ein gebräuchliches griechisches Wort, welches schon damals eine wichtige Stellung in den hippokratischen Schriften und in Platons Dialogen eingenommen hatte. Jedoch bedeutete das Wort dynamis vor Aristoteles ›Vermögen‹, ›Fähigkeit‹, ›Macht‹ oder ›Kraft‹, und sein Gegenteil ›Unfähigkeit‹ oder ›Machtlosigkeit‹. Zusätzlich verkompliziert sich die Situation dadurch, dass dynamis von Aristoteles nicht nur ›Akt‹ (energeia), sondern auch einem anderen, neu erfundenen Wort, nämlich ›Vollständigkeit‹ bzw. auch ›Wirklichkeit‹ (entelecheia), entgegengesetzt wird.
La noción de mímesis es, sin dudas, el concepto rector de la Poética de Aristóteles. Pese a la importancia que dicha noción reviste en este contexto, no se ofrecen allí elementos que permitan una clara y acotada significación del término. Considero que es posible acceder a una caracterización más precisa de la mímesis por una vía indirecta, esto es, a través de las relaciones que entabla con otras nociones centrales de la obra que el estagirita le dedica al arte dramático. En este trabajo, me interesa señalar de qué manera los condicionantes lógicos del mûthos trágico se convierten en criterios para la mímesis, en tanto establecen las pautas a seguir en la elaboración del mîmema. Dilucidar algunos de los problemas que entrañan los criterios de necesidad y verosimilitud permitirá subrayar las dimensiones (objetivas y subjetivas) que atraviesan a la noción de mímesis.
When Nietzsche criticized Aristotle’s views on tragedy in The Birth of Tragedy, he based his attack on two central issues. The first concerned the relationship between the tragic emotions, pity (eleos) and fear (phobos), both being painful experiences, and the aesthetic result of the art of tragedy, ‘the proper pleasure of tragedy’ (he oikeia hedone tes tragodias). Nietzsche claimed that Aristotle made two errors in his formulation of the tragic experience and especially of the concept of catharsis because he misidentified both. Following Bernays, Nietzsche took the latter to mean ‘purgation of emotions’.2
This paper presents what might be more likely than not the Aristotelian concept of comic action and its catharsis. I show that the tragic qualities of an action and their catharsis rest on ethical presuppositions that can serve the comic qualities of an action and their catharsis. My contention is that a pitiable and fearful action and a ridiculous and shameful action can have a capacity to function in a manner surprisingly and profoundly similar.
KEYWORDS: Aristotle, Comedy, Tragedy, Emotion, Catharsis
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