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    1. Cervantes’s “Republic”: On Representation, Imitation, and Unreason.Rolando Perez - 2021 - eHumanista 47:89-111.
      ABSTRACT This essay deals with the relation between representation, imitation, and the affects in Don Quixote. In so doing, it focuses on Cervantes’s Platonist poetics and his own views of imitation and the books of knighthood. Although most readers, translators, and critics have until now deemed Cervantes’s use of the word “republic” in Don Quixote unimportant, the word “república” or republic is in fact the entry point to Cervantes’ Platonist critique of the novels of knighthood, and his notions of writing, (...)
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    2. CARÁTER, AÇÃO E DISCURSO NA POÉTICA DE ARISTÓTELES.Marco Valério Classe Colonnelli - 2020 - João Pessoa, Brazil: Editora UFPB.
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    3. Einzigartigkeit. Die Logik des Genuinen und ihre Genealogie aus der Logik.Stefan Färber - 2019 - In Unarten. Kleist und das Gesetz der Gattung. Bielefeld, Deutschland: pp. 71-92.
    4. Aristotle on Dramatic Musical Composition. By Gregory Scott. [REVIEW]Gene Fendt - 2019 - Ancient Philosophy 39 (1):248-252.
      This is a review of Gregory Scott's book on Aristotle's Poetics, which he argues, with excellent and well-defended reasons, has the much narrow focus of dramatic musical art.
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    5. Tapping the Wellsprings of Action: Aristotle's Birth of Tragedy as a Mimesis of Poetic Praxis.Katherine Kretler - 2018 - In Bruce M. King & Doherty Lillian (eds.), Thinking the Greeks: A Volume in Honour of James M. Redfield. London and New York: pp. 70-90.
      This essay offers an interpretation of Aristotle’s account of the birth of tragedy (Poetics 1448b18–1449a15) as a mimesis of poetic praxis. The workings of this passage emerge when read in connection with ring composition in Homeric speeches, and further unfold through a comparison with the Shield of Achilles and with an ode from Euripides’ Heracles. Aristotle appears to draw upon a traditional pattern enacting cyclical rebirth or revitalization. It is suggested that his puzzling insistence on “one complete action” in plot (...)
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    6. El método em Poética 1-6 de Aristóteles.Manuel Berrón - 2017 - Dissertatio 45:209-233.
      La premisa que guía nuestra investigación es que Poética es un tratado científico, i. e., que la investigación desarrollada en dicha obra se corresponde con el examen de una téchne. Defendemos que el método utilizado se corresponde con el método general de investigación denominado “salvar las apariencias”. Tal método es expuesto con más detalle en otras obras del corpus pero lo presuponemos utilizado en Poética. Si bien el método presupone la recolección de datos, no se limita a eso puesto que (...)
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    7. Arystotelesowskie Ujęcie Homonimii.Mikołaj Domaradzki - 2016 - Diametros 50:1-24.
      The purpose of the paper is to discuss Aristotle’s account of homonymy. The major thesis advocated here is that Aristotle considers both entities and words to be homonymous, depending on the object of his criticism. Thus, when he takes issue with Plato, he tends to view homonymy more ontologically, upon which it is entities that become homonymous. When, on the other hand, he gainsays the exegetes or the sophists, he is inclined to perceive homonymy more semantically, upon which it is (...)
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    8. Routledge Philosophy Guidebook to Aristotle and the Poetics.Angela Curran - 2015 - Routledge.
      Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for tragic (...)
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    9. Notes on Aristotle’s Concept of Improvisation.Andrew Haas - 2015 - Journal of Aesthetics and Phenomenology 2 (1):113-121.
      Improvisation is the origin of art and science, tragedy and comedy, acting and doing, of the self as improvising and improvised. But clearly we cannot use improvisation to explain improvisation. We cannot be satisfied with an argument that improvisation is, well, improvisational--nor simply free-play. Rather, improvisation as αὐτο-σχεδιάζεῖν, means self-schematization.
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    10. The Poets and the Philosophers: Genius and Analogy in Descartes and the Encyclopédie (Following Aristotle).Gregor Kroupa - 2015 - L'Esprit Créateur 55 (2):34-47.
      The article tackles the relationship between genius and analogy in Descartes’s early writings and the programmatic writings of the Encyclopédie. For Descartes, ingenious analogies between phenomena that are not obviously related belong more properly to poetic truth discourse, whereas philosophy must be content with the more easily observable and methodical mechanistic comparisons. In the encyclopedic ordering of Diderot and d’Alembert, on the other hand, ingenious analogies are not specific to any particular field of knowledge, since genius consists precisely in connecting (...)
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    11. A Cognitive Interpretation of Aristotle’s Concepts of Catharsis and Tragic Pleasure.Mahesh Ananth - 2014 - International Journal of Art and Art History 2 (2).
      Jonathan Lear argues that the established purgation, purification, and cognitive stimulation interpretations of Aristotle’s concepts of catharsis and tragic pleasure are off the mark. In response, Lear defends an anti-cognitivist account, arguing that it is the pleasure associated with imaginatively “living life to the full” and yet hazarding nothing of importance that captures Aristotle’s understanding of catharsis and tragic pleasure. This analysis reveals that Aristotle’s account of imagination in conjunction with his understanding of both specific intellectual virtues and rational emotions (...)
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    12. Virtues of Thought.Aryeh Kosman - 2014 - Harvard.
    13. Civic Laughter.John Lombardini - 2013 - Political Theory 41 (2):203-230.
      While the loss of the second book of the Poetics has deprived us of Aristotle’s most extensive account of laughter and comedy, his discussion of eutrapelia as a virtue in his ethical works and in the Rhetoric points toward the importance of humor for his ethical and political thought. This article offers a reconstruction of Aristotle’s account of wittiness and attempts to explain how the virtue of wittiness would animate the everyday interactions of ordinary citizens. Placing Aristotle’s account of wittiness (...)
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    14. Aristotle.Angela Curran - 2012 - In Alessandro Giovannelli (ed.), Aesthetics: The Key Thinkers. pp. 21-33.
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    15. O Prazer das Mímeses Poéticas em Aristóteles.Vívian Val Monteiro - 2012 - Dissertation, UFBA, Brazil
    16. Tragic Pathos: Pity and Fear in Greek Philosophy and Tragedy.Dana LaCourse Munteanu - 2012 - Cambridge University Press.
      Machine generated contents note: Introduction; Part I. Theoretical Views about Pity and Fear as Aesthetic Emotions: 1. Drama and the emotions: an Indo-European connection? 2. Gorgias: a strange trio, the poetic emotions; 3. Plato: from reality to tragedy and back; 4. Aristotle: the first 'theorist' of the aesthetic emotions; Part II. Pity and Fear within Tragedies: 5. An introduction; 6. Aeschylus: Persians; 7. Prometheus Bound; 8. Sophocles: Ajax; 9. Euripides: Orestes; Appendix: catharsis and the emotions in the definition of tragedy (...)
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    17. Aristotle on the Philosophical Elements of Historia.Silvia Carli - 2011 - Review of Metaphysics 65 (2):321-349.
      This paper offers an interpretation and a defense of Aristotle’s view of history. According to a common reading of the Poetics, the philosopher intends to establish a dichotomy between history and poetry. On this view, the former speaks only of particulars because it relates events that are accidentally related to one another, whereas the latter speaks of universals because it organizes events according to causal relations of probability and necessity. A careful reading of the relevant passages of the Poetics and (...)
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    18. Between Ecstasy and Truth: Interpretations of Greek Poetics From Homer to Longinus.Stephen Halliwell - 2011 - Oxford University Press.
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    19. Myths of Complexity.Claudia Westermann - 2011 - Design Ecologies 1 (2):267-284.
      The following article takes up a dialogue that was initiated in the first issue of Design Ecologies, evolving in relation to questions of design within a context of concepts of complexity. As the first part of the article shows, this process of taking up a dialogue – through reading and writing – can be considered a question of design. This is elaborated alongside de Certeau’s concepts of ‘tactics’ and ‘strategies’. Further, in relation to questions emerging from the previous issue of (...)
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    20. Wonder, Nature, and the Ends of Tragedy.Ryan Drake - 2010 - International Philosophical Quarterly 50 (1):77-91.
      A survey of commentaries on Aristotle’s Poetics over the past century reflects a long-standing assumption that pleasure, rather than understanding, is to be seen as the real aim of tragedy, despite weak textual evidence to this end. This paper seeks to rehabilitatethe role of understanding in tragedy’s effect, as Aristotle sees it, to an equal status with that of its affective counterpart. Through an analysis of the essential inducement of wonder on the part of the viewer and its connection with (...)
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    21. Eudoro de Souza e a poética aristotélica.Claudia Pellegrini Drucker - 2010 - Peri 2 (1):81-97.
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    22. On the Poetic Truth That is Higher Than History: Porphyry and the Philosophical Criticism of Literature.William Franke - 2010 - International Philosophical Quarterly 50 (4):415-430.
      Porphyry‘s “On the Cave of the Nymphs” inaugurates a style of philosophicoallegorical interpretation of literary texts that flourished in antiquity and finds analogues in criticism down to the present. It is distinguished by its use of literary interpretation to think through speculative problems of philosophy and theology. Although it became suspect in terms of Enlightenment philological principles prescribing interpretation of the text “on its own terms,” this kind of criticism reveals the originally philosophical motives and purpose of literary criticism and (...)
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    23. Aristotle's Poetics.Jose Montoya - 2010 - Philosophical Inquiry 32 (1-2):43-58.
      This article sets out to establish links between the main concepts of Aristotle's poetics and literary theory, with a view to illuminating some aspects of Aristotle's ethics and also of general ethical theory. We highlight topics such as weak universals (Halliwell), frame-making and free indirect discourse, that seem to us to establish a link between poetics and moral philosophy.
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    24. Poietical Subjects in Heidegger, Kristeva, and Aristotle.Melissa Shew - 2010 - Comparative and Continental Philosophy 2 (1):63-80.
      Prompted by Eryximachus’ speech about the relationship between Eros and health in Plato’s Symposium, this paper engages the nature of poiēsis as it arises in the works of Martin Heidegger, Julia Kristeva, and Aristotle. All three address poiēsis as a human activity that points beyond an individual person, and in so doing speaks to what’s possible for human life. Section I addresses Heidegger, whose insistance on the interplay between “earth” and “world” in “The Origin of a Work of Art” speaks (...)
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    25. CATARSE, EMOÇÃO E PRAZER NA POÉTICA DE ARISTÓTELES.Christiani Margareth de Menezes Silva - 2010 - Dissertation, Pontíficia Universidade Católica Do Rio de Janeiro
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    26. Metáfora y analogía en Aristóteles. Su distinción y su uso en la ciencia.Daniel Vázquez - 2010 - Tópicos: Revista de Filosofía 38:85-116.
    27. Tragic Katharsis and Reparation: A Perspective on Aristotle's Poetics.E. Galgut - 2009 - South African Journal of Philosophy 28 (1):13-24.
      What Aristotle meant by katharsis has tantalised philosophers, psychologists, and literary critics alike for centuries - from metaphors of purgation, purification and ritual cleansing, to claims that katharsis is not an experience of the audience but a property of the play1, a release of feeling, or a kind of pleasure 2. Some authors, such as Daniels and Scully3, even deny that katharsis is essentially an aspect of the emotional experiences of an audience. This paper will provide an attempt at gaining (...)
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    28. Love Song for the Life of the Mind: An Essay on the Purpose of Comedy.Gene Fendt - 2007 - Washington, DC, USA: Catholic University of America Press.
      Prefaced by an argument that the ancients understood mimesis as fundamental to being human, and art as therefore essential to human moral and intellectual development, this book starts from the problematic status of the (happily ending) Iphigenia in Poetics. How Aristotle must explicate tragedy to hold Iphigenia as the best thus sets up the exploration of comedy. Chapter two shows that comedy aims at the catharsis of desire and sympathy. This analysis is then applied in detail to Aristophanes’ Acharnians, Shakespeare’s (...)
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    29. Ontology and the Art of Tragedy: An Approach to Aristotle’s Poetics, by Martha Husain. [REVIEW]Richard Bosley - 2006 - Ancient Philosophy 26 (2):427-430.
    30. A Poética de Aristóteles: tradução e comentários.Fernando Maciel Gazoni - 2006 - Dissertation, USP, Brazil
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    31. Aristotle and Gadamer on Mimesis and Tragedy.Kwok-Kui Wong - 2006 - Philosophical Inquiry 28 (3-4):21-34.
    32. O Princípio Metafísico da Poética de Aristóteles.Aurélia Sotero Angelo - 2005 - Dissertation, UFRN, Brazil
    33. Mímesis e Tragédia na Poética de Aristóteles.Alexandre Mauro Toledo - 2005 - Dissertation, UFMG, Brazil
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    34. Aristotle's Theory of the Fine Arts: With Special Reference to Their Value in Education and Therapy.Constantine Cavarnos - 2001 - Institute for Byzantine and Modern Greek Studies.
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    35. O. J. Schrier: The Poetics of Aristotle and the Tractatus Coislinianus. A Bibliography From About 900 to 1996. Pp. 350. Leiden, Etc.: E. J. Brill, 1998. Cased, $120.75. ISBN: 09-04-11132-8. [REVIEW]Penelope Murray - 1999 - The Classical Review 49 (2):586-586.
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    36. The Others In/Of Aristotle’s Poetics.Gene Fendt - 1997 - Journal of Philosophical Research 22:245-260.
      This paper aims at interpreting the first six chapters of Aristotle’s Poetics in a way that dissolves many of the scholarly arguments conceming them. It shows that Aristotle frequently identifies the object of his inquiry by opposing it to what is other than it. As a result aporiai arise where there is only supposed to be illuminating exclusion of one sort or another. Two exemplary cases of this in chapters 1-6 are Aristotle’s account of mimesis as other than enunciative speech (...)
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    37. Aristotle’s Poetics.Elizabeth Belfiore - 1995 - Ancient Philosophy 15 (1):268-272.
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    38. Howard Hawks and John Ford Resurgent.Raymond Aaron Younis - 1995 - Cinema Papers (1995).
      On the aesthetics and poetics of Hawks and Ford; their resurgence in film studies.
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    39. Aristotle's Poetics: The Poetry of Philosophy.Michael Dink - 1994 - Review of Metaphysics 47 (4):804-806.
      Davis aims to rescue the Poetics from its initial appearance as a book merely about the art of poetry understood as imitation, without imposing upon it a "borrowed significance" beyond Aristotle's intention. This involves three major claims: the Poetics is about the fundamental structure of human action, it is also about human reason or thought, and Aristotle's silence about these alleged topics can be explained.
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    40. Essays on Aristotle's Poetics.Leo J. Elders - 1994 - Review of Metaphysics 47 (3):637-638.
      This is an important book. It consists of twenty-one essays, sixteen of which have not been published before, and sheds light on two of the most difficult points in the Poetics, imitation and catharsis. The order in which the papers are presented has been carefully chosen, so that the overall impression is that of a certain unity of interpretation. In this review we can only bring out a few of the more salient statements of the book.
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    41. Michael David, "Aristotle's "Poetics": The Poetry of Philosophy". [REVIEW]Jacob Howland - 1994 - Journal of the History of Philosophy 32 (2):292.
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    42. Katharsis Elizabeth S. Belfiore: Tragic Pleasures: Aristotle on Plot and Emotion. Pp. Xviii + 412. Princeton, NJ: Princeton University Press, 1992. £30. [REVIEW]Stephen Halliwell - 1993 - The Classical Review 43 (02):253-254.
    43. Leon Golden: Aristotle on Tragic and Comic Mimesis. Pp. X+ 115. Atlanta, GA: Scholars Press, 1992. $24.95.Penelope Murray - 1993 - The Classical Review 43 (2):437-437.
    44. "Plato and Aristotle on Poetry", by Gerald F. Else. [REVIEW]Elizabeth Belfiore - 1990 - Ancient Philosophy 10 (1):138.
    45. Aristotle's Poetics, Plus… - Richard Janko. Aristotle's Poetics I, with the Tractatus Coislinianus, a Hypothetical Reconstruction of Poetics II, the Fragments of the On Poets . Pp. Xxvi + 235. Indianapolis and Cambridge, MA: Hackett Publishing Company, 1987. $27.50. [REVIEW]W. Geoffrey Arnott - 1989 - The Classical Review 39 (2):195-196.
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    46. Aristotle's Poetics - Stephen Halliwell: The Poetics of Aristotle . Pp. X + 197. London: Duckworth, 1987. £19.50.Malcolm Heath - 1988 - The Classical Review 38 (2):231-233.
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    47. Aristotle on Comedy.Elizabeth Belfiore - 1987 - Ancient Philosophy 7:236-239.
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    48. Aristotle on Comedy: Towards a Reconstruction of Poetics II. [REVIEW]Elizabeth Belfiore - 1987 - Ancient Philosophy 7:236-239.
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    49. Dignus Digno Vindice Nodus. [REVIEW]B. R. Rees - 1987 - The Classical Review 37 (2):201-203.
    50. Aristotle for the Structuralist? R. Dupont-Roc, J. Lallot: Aristote: La Poétique, Texte, Traduction, Notes. (Collection Poétique.) Pp. 465. Paris: Editions du Seuil, 1980. Paper. [REVIEW]B. R. Rees - 1981 - The Classical Review 31 (2):178-179.
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