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Aristotle on Sophocles
Abstract
Aristotle on Sophocles and/in the Development of Attic Tragedy Aristotle (and Sophocles) Reading Sophocles Conclusions References
... But in ancient times their substantial relationship was readily acceptedand not just by the 79 On the etymology of dithurambos, see Versnel (1970) 16-38 (where he is careful to distinguish between the sung and danced elements of the genre). On the dithyramb generally, see Pickard-Cambridge (1962) 83 For a hypothetical reconstruction (in six stages) of this development of drama in ancient Greece, see Kirby (2012) 416-418. That reconstruction proceeds from the assumption that diêgesis as an artistic urge came prior to mimêsisan assumption that may be worth rethinking. ...
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 George R. R. Martin’s A Song of Ice and Fire, some of the character arcs could be considered tragic in the broad sense of the term due to unfortunate events and fatal denouements. Similarly, drawing on Aristotle’s Poetics, they could equally be considered tragic from a strictly literary perspective. Eddard Stark in Martin’s A Game of Thrones is portrayed as a tragic hero whose story reaches its greatest complexity when he recognises the nature of his error, which has changed the direction of the course of events and has propelled him into misfortune. His storyline could also be viewed as a sort of meta-tragedy that elicits pity and fear to both the reader and other characters. In this paper, I shall conduct a formal analysis of Eddard Stark’s story in order to demonstrate the tragic component in Martin’s narrative, following Aristotelian criteria such as anagnorisis, peripeteia, hamartia and catharsis.
This Element provides an account of Aristotle on women which combines what is found in his scientific biology with his practical philosophy. Scholars have often debated how these two fields are related. The current study shows that according to Aristotelian biology, women are set up for intelligence and tend to be milder-tempered than men. Thus, women are not curtailed either intellectually or morally by their biology. The biological basis for the rule of men over women is women's lack of spiritedness. Aristotle's Politics must be read with its audience in mind; there is a need to convince men of the importance of avoiding insurrection both in the city and the household. While their spiritedness gives men the upper hand, they are encouraged to listen to the views of free women in order to achieve the best life for all.
Este artículo explora el canon implícito presupuesto en la Poética de Aristóteles al objeto de identificar a los autores de épica y tragedia a los que este tratado reconoce como modélicos y en función de qué criterios. Se estudia igualmente cuáles son las obras concretas de esos autores que se presentan como canónicas en la Poética. Se concede también atención a las semejanzas y diferencias entre el canon implícito de Aristóteles y el alejandrino.
In this needed and highly anticipated new translation of the Theban plays of Sophocles, David R. Slavitt presents a fluid, accessible, and modern version for both longtime admirers of the plays and those encountering them for the first time. Unpretentious and direct, Slavitt's translation preserves the innate verve and energy of the dramas, engaging the reader-or audience member-directly with Sophocles' great texts. Slavitt chooses to present the plays not in narrative sequence but in the order in which they were composed-Antigone, Oedipus Tyrannos, Oedipus at Colonus-thereby underscoring the fact that the story of Oedipus is one to which Sophocles returned over the course of his lifetime. This arrangement also lays bare the record of Sophocles' intellectual and artistic development. Renowned as a poet and translator, Slavitt has translated Ovid, Virgil, Aeschylus, Aristophanes, Ausonius, Prudentius, Valerius Flaccus, and Bacchylides as well as works in French, Spanish, Portuguese, and Hebrew. In this volume he avoids personal intrusion on the texts and relies upon the theatrical machinery of the plays themselves. The result is a major contribution to the art of translation and a version of the Oedipus plays that will appeal enormously to readers, theater directors, and actors.