Aristotle's Works in Aesthetics

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 (...) is bound up with moment-to-moment performance. The poetics of Aristotle’s account suggest a pedagogy of mimesis. (shrink)

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 (...) As You Like It and Stoppard’s Arcadia, exhibiting the cross-cultural application of the theory which Aristotle would expect. (shrink)

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 (...) the Design Ecologies journal, the article addresses the notion of complexity through the conceptual lens of poiesis. It leads complexity to the borders of language. (shrink)

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.

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 (...) el paso ulterior consiste en la caracterización de las diferencias y la exposición de las cuatro causas del fenómeno. De este modo, expondremos por un lado la base fenoménica de Poética y, por otro, sus cuatro causas. (shrink)

On the aesthetics and poetics of Hawks and Ford; their resurgence in film studies.

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 (...) words that become homonymous. Subsequently, this article shows that Aristotle values homonymy negatively in dialectical discussions, but positively in rhetorical and poetic arts. Finally, the present paper demonstrates that Aristotle regards systematic homonymy as a very useful theoretical tool that makes it possible to critically examine the basic terminological assumptions of any philosophical inquiry. (shrink)

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 (...) in dialogue with recent work within the ethical turn in contemporary political theory can help articulate what a late-modern ethos of democratic laughter might look like. (shrink)

The [[sic]] Arabic contribution to literary criticism is still very imperfectly known among Western scholars. It is important not only for the history of Arabic poetry, but for Latin Europe as well. Al-farabi’s discussion of poetry in his Catalog of the Sciences was translated into Latin by Gerard of Cremona and also incorporated into an important essay On the Division of Sciences by Dominicus Gundissalinus in the twelfth century. In 1256 Hermannus Almannus [[sic]] translated the Middle Commentary of Averroës on (...) Aristotle’s Poetics. This translation provided the first hazy glimpse of Aristotle’s theory of poetry available in the Latin west. It circulated widely in manuscript, it was printed in Venice in 1491, and it was reprinted in the Giunta editions of "Aristotle with Averroës" during the sixteenth century. (shrink)

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 (...) restores to literature the vocation of disclosing a properly poetic truth higher than that of fact or history. The history of this type of speculative criticism stemming from Porphyry‘s reading of Homer is traced forward through Latin allegorical readings of epic revolving around Virgil. This itinerary highlights the perennial and inevitable tensions between philological and philosophical approaches to interpreting literature as a revelation of truth. (shrink)

In this article, aristotle firmly locates art as a practical-intellectual virtue of making. it governs our acts of providing forms from the mind, and for contingent materials that already have a natural form. whereas the useful arts compensate for the deficiencies of nature in meeting human needs, the imitative arts operate selectively to pervade the materials with significant, likely, and pleasing patterns. although he does not explicitly link art and beauty, aristotle does regard art as a splendid embodiment of order, (...) determinateness, and human striving. (shrink)

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.

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 (...) even the most remote branches of the whole tree of knowledge. I argue that the theoretical core of both approaches can be traced back to Aristotle’s theory of metaphor insofar as it relies on the analogy of genera rather than species. (shrink)

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 (...) of an educated citizen not only tells against Lear’s anti-cognitivist construal, but also divulges an alternative cognitive stimulation reading. (shrink)

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 (...) plot patterns; catharsis ; epic and comedy; the nature of our emotional response to drama; the proper pleasure of tragedy; and the role that art plays in a human life the relevance of Aristotle’s work in metaphysics, epistemology, ethics and philosophical psychology to the Poetics a comparison of Plato and Aristotle on the value of mimetic art the continuing importance of Aristotle’s Poetics to contemporary philosophy, aesthetics, and philosophy of film. (shrink)

An exact reprint of the fourth edition of Butcher's famous commentary on the Poetics, together with his Greek text and English translation. Includes a helpful introductory essay, written especially for this edition, on "Aristotelian Literary Criticism".--V. C. C.

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 (...) insight into the “singular phenomenon”4 of tragic katharsis via the lens of the psychoanalyst Hanna Segal. My paper will begin by looking at some of the arguments I find most persuasive regarding the nature of katharsis; I shall then turn my attention to Segal’s discussion of tragedy. The final part of the paper will attempt to show how Segal’s discussion can shed light on the analysis of tragedy that Aristotle provides in his Poetics. (shrink)

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 (...) the analysis of his conception of historia as a preliminary inquiry that leads to the philosophical investigation of causes and principles, however, show that Aristotle did not confine history to the realm of particulars. Rather, he acknowledged that it has some connection with universality, and to that extent, that it partakes in the philosophical nature of poetry. At the same time he provided valid indications to the effect that, despite their affinity, historia and poiêtikê differ in kind, because they are defined by different functions (erga). (shrink)