A comprehensive reassessment of the concept of mimesis in the history of ancient Greek aesthetics and philosophy of art, with particular attention to Plato, Aristotle, Hellenistic philosophy, and neoplatonism. There is also a wide-ranging review of arguments pro and contra the idea of artistic mimesis from the Renaissance to modern literar theory. The book challenges standard accounts in numerous respects and builds a new dialectical model with which to make sense of the entire history of mimeticist thinking in aesthetics.

Aristotle says in the De Sensu that other colours are produced through the mixture of black bodies with white . The obvious mixture for him to be referring to is the mixture of the four elements, earth, air, fire, and water, which he describes at such length in the De Generatione et Corruptione. All compound bodies are produced ultimately through the mixture of these elements. The way in which the elements mix is described in i. 10 and 2. 7. They (...) mix in such a way as to produce an entirely new substance, in which the characteristics of the original earth, air, fire, and water survive only in modified form. (shrink)

Aristotle says in the De Sensu that other colours are produced through the mixture of black bodies with white. The obvious mixture for him to be referring to is the mixture of the four elements, earth, air, fire, and water, which he describes at such length in the De Generatione et Corruptione. All compound bodies are produced ultimately through the mixture of these elements. The way in which the elements mix is described in i. 10 and 2. 7. They mix (...) in such a way as to produce an entirely new substance, in which the characteristics of the original earth, air, fire, and water survive only in modified form. (shrink)

No one who has read the classics with any attention can fail to have been struck by certain oddities in both the Greek and Latin usage of epithets denoting colour. How really strange their application often is may have escaped general notice for three reasons: partly, it may be, because custom has staled their surprising character—phrases such as ‘the wine-dark sea’ having become, so to say, ‘household words’; partly because a natural and on the whole commendable diffidence prevents our attributing, (...) at least to the Greeks, anything that seems in the least derogatory from an artistic point of view; and partly because these instances of curious usage are scattered and so have no cumulative effect on our judgement. (shrink)

No one who has read the classics with any attention can fail to have been struck by certain oddities in both the Greek and Latin usage of epithets denoting colour. How really strange their application often is may have escaped general notice for three reasons: partly, it may be, because custom has staled their surprising character—phrases such as ‘the wine-dark sea’ having become, so to say, ‘household words’; partly because a natural and on the whole commendable diffidence prevents our attributing, (...) at least to the Greeks, anything that seems in the least derogatory from an artistic point of view; and partly because these instances of curious usage are scattered and so have no cumulative effect on our judgement. (shrink)

Reprinted in Aristotle's Ethics, edited by T. Irwin, Garland Press, 1995; revised in Essays on Aristotle's Rhetoric, edited by A. Rorty, University of California Press, 1996.

INTRODUCTION Any scholar undertaking to add yet another book title to the already virtually uncontrollable bibliography on Plato needs justification. ...

The study of colour has become familiar territory in anthropology, linguistics, art history and archaeology. Classicists, however, have traditionally subordinated the study of colour to form. By drawing together evidence from contemporary philosophers, elegists, epic writers, historians and satirists, Mark Bradley reinstates colour as an essential informative unit for the classification and evaluation of the Roman world. He also demonstrates that the questions of what colour was and how it functioned - as well as how it could be misused and (...) misunderstood - were topics of intellectual debate in early imperial Rome. Suggesting strategies for interpreting Roman expressions of colour in Latin texts, Dr Bradley offers alternative approaches to understanding the relationship between perception and knowledge in Roman elite thought. In doing so, he highlights the fundamental role that colour performed in the realms of communication and information, and its intellectual contribution to contemporary discussions of society, politics and morality. (shrink)

In this paper, I reconstruct the reasons why Aristotle thinks that musical education is important for moral education. Musical education teaches us to enjoy appropriately and to recognize perceptually fine melodies and rhythms. Fine melodies and rhythms are similar to the kind of movements fine actions consist in and fine characters display. By teaching us to enjoy and recognise fine melodies and rhythms, musical education can train us to recognize and to take pleasure in fine actions and characters. Thus, musical (...) education can, up to a point, lead us toward the actions and character dispositions a virtuous life requires. (shrink)

Aristotle's Rhetoric defines fear as a kind of pain or disturbance and pity as a kind of pain . In his Poetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ . The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in connection with catharsis. Catharsis, however, raises more problems than it solves. Aristotle says nothing at all (...) about the tragic catharsis in the Poetics except to state that tragedy accomplishes it. Though he gives a more complete account of catharsis in the Politics, the context of this passage is so different from that of the Poetics that its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of the Poetics according to which a tragedy is pleasurable in one respect and painful in another, and pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of the oikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view of catharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)

Aristotle'sRhetoricdefines fear as a kind of pain (lypē) or disturbance (tarachē) and pity as a kind of pain (2.5.1382 a 21 and 2.8.1385 b 13). In hisPoetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ (τ⋯ν ⋯π⋯ ⋯λέου κα⋯ ɸόβου δι⋯ μιμήσεως δεῖ ⋯δον⋯ν παρασκευάζειν14.1453 b 12–13). The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in (...) connection withcatharsis.Catharsis, however, raises more problems than it solves. Aristotle says nothing at all about the tragiccatharsisin thePoeticsexcept to state that tragedy accomplishes it. Though he gives a more complete account ofcatharsisin thePolitics, the context of this passage is so different from that of thePoeticsthat its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of thePoeticsaccording to which (1) a tragedy is pleasurable in one respect and painful in another, and (2) pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of theoikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view ofcatharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)

Christopher Shields presents a new translation and commentary of Aristotle's De Anima, a work of interest to philosophers at all levels, as well as psychologists and students interested in the nature of life and living systems. The volume provides a full translation of the complete work, together with a comprehensive commentary. While sensitive to philological and textual matters, the commentary addresses itself to the philosophical reader who wishes to understand and assess Aristotle's accounts of the soul and body; perception; thinking; (...) action; and the character of living systems. It aims to present controversial aspects of the text in a neutral, fair-minded manner, so that readers can come to be equipped to form their own judgments. (shrink)

Diese fünfbändige Aristoteles-Ausgabe in griechischer Sprache ist (mit Ausnahme von Bd III) ein fotomechanischer Nachdruck der maßgeblichen Aristoteles-Ausgabe von 1831-1870. Band I und II enthält die Werke Aristoteles. In Band III wird die durch O. Gigon besorgte Bearbeitung und Ergänzung der Fragmente des Aristoteles wiedergegeben. Band IV bietet eine Auswahl der bedeutendsten Stücke aus den antiken Kommentaren zu Aristoteles, sowie eine Konkordanz mit den Commentaria in Aristotelem Graeca. In Band V ist der Index Aristotelicus von H. Bonitz nachgedruckt.

Pt. I. The apparent good. Evaluative cognition -- Perceiving the good -- Phantasia and the apparent good -- pt. II. The apparent good and non-rational motivation. Passions and the apparent good -- Akrasia and the apparent good -- pt. III. The apparent good and rational motivation. Phantasia and deliberation -- Happiness, virtue, and the apparent good -- Practical induction -- Conclusion : Aristotle's practical empiricism.

Mark Eli Kalderon presents an original study of perception, taking as its starting point a puzzle in Empedocles' theory of vision: if perception is a mode of material assimilation, how can we perceive colors at a distance? Kalderon argues that the theory of perception offered by Aristotle in answer to the puzzle is both attractive and defensible.

Aristotle's De Anima is the first systematic philosophical account of the soul, which serves to explain the functioning of all mortal living things. In his commentary, Ronald Polansky argues that the work is far more structured and systematic than previously supposed. He contends that Aristotle seeks a comprehensive understanding of the soul and its faculties. By closely tracing the unfolding of the many-layered argumentation and the way Aristotle fits his inquiry meticulously within his scheme of the sciences, Polansky answers questions (...) relating to the general definition of soul and the treatment of each of the soul's principal capacities: nutrition, sense perception, phantasia, intellect, and locomotion. The commentary sheds light on every section of the De Anima and the work as a unit. It offers a challenge to earlier and current interpretations of the relevance and meaning of Aristotle's highly influential treatise. (shrink)