본고의 목표는 『시학』의 비극 정의에서 정의항의 두 부분, 즉 ‘완결성’과 ‘감정 효과’에 초점을 맞춰, “극 바깥(exō tou dramatos)”이 이 둘과 직결되는 용어임을 밝히는 것이다. 이를 위해 본고는 다음의 순서를 취한다. 먼저 “극 바깥”이란 배우의 간략한 말을 통해 관객에게 전달될 뿐 현재형의 행동으로 연출되지는 않는 과거사나 미래사가 놓이는 곳으로서, 표현은 공간이지만 실제 의미는 시간에 관련됨을 서술한다. 다음으로, “묶기”란 주인공의 운의 전환에 필요한 사건들을 설계하는 작업인데, 여기서 비중 있게 사용되는 것은 극 안의 현재사보다는 극 바깥의 과거사임을 보인다. 마지막으로, 비극 정의에 언급된 ‘행위의 (...) 완결성’은 ‘극의 통일성’을 뜻함을 설명하고, 극이 통일성을 갖추게 하기 위해서는 ‘플롯의 통일성’부터 마련해야 함을 짚은 후, 다음을 보인다. 첫째, 극 바깥의 과거사는 극 안의 현재사가 일어날 만한 이유를 제공하여 사건들을 인과적으로 밀착시켜 주기 때문에 통일적 플롯 구성에 필요하고, 특히 알아보기가 포함된 플롯 제작에서는 그 적극적 사용이 필수적이다. 둘째, 극 바깥의 과거사는 관객에게 인과적 정보를 제공하긴 하지만 이 정보를 덜 생생하고 덜 상세하게 제공하여 관객 인지 상태의 명료한 정도를 낮추기 때문에, 극 안의 중대 사건의 예기치 않은 발생을 준비하는 데 효과적이고, 특정 과거사의 불합리한 요소가 관객의 의식에 포착되지 않도록 감추는 데에도 활용될 수 있다. 이상의 논의를 통해 본고는 “극 바깥”이 플롯의 통일성 마련에 필요하다는 점에서 ‘완결성’과 직결되고, 놀라움의 규모 확대에 기여한다는 점에서 ‘감정 효과’와 직결됨을 밝히고자 한다. (shrink)

This chapter contains sections titled: What Is Tragedy? Mimesis6 Understanding Katharsis17 Five Questions for Interpreters A Short History of Katharsis Interpretation The Nature of Our Question Notes Bibliography.

This is an invited introductory discussion of tragedy in Aristotle 's Poetics.

Tragedy as Philosophy in the Reformation World' examines how sixteenth- and seventeenth-century poets, theologians, and humanist critics turned to tragedy to understand providence and agencies human and divine in the crucible of the Reformation. Rejecting familiar assumptions about tragedy, vital figures like Philipp Melanchthon, David Pareus, Lodovico Castelvetro, John Rainolds, and Daniel Heinsius developed distinctly philosophical ideas of tragedy,irreducible to drama or performance, inextricable from rhetoric, dialectic, and metaphysics. In its proximity to philosophy, tragedy afforded (...) careful readers crucial insight into causality, probability, necessity, and the terms of human affect and action. With these resources at hand, poets and critics produced aseries of daring and influential theses on tragedy between the 1550s and the 1630s, all directly related to pressing Reformation debates concerning providence, predestination, faith, and devotional practice. Under the influence of Aristotle's Poetics, they presented tragedy as an exacting forensic tool, enabling attentive readers to apprehend totality. And while some poets employed tragedy to render sacred history palpable with new energy and urgency, others marshalled a precise philosophicalnotion of tragedy directly against spectacle and stage-playing, endorsing anti-theatrical theses on tragedy inflected by the antique Poetics. In other words, this work illustrates the degree to which some of the influential poets and critics in the period, emphasized philosophical precision at the0expense of-even to the exclusion of-dramatic presentation. (shrink)

Argues for a reading of the Poetics in light of the Metaphysics.

This chapter contains sections titled: Aristotle After Aristotle Tragedy in the Twentieth Century.

The goal of this work is writing about the importance of the poetic art, especially the tragedy to understand the psyche. The literature, besides showing an epoch, represents in a clear and poetic way the human conflicts. To reach this goal, we went through some literary works – Edipo King, by Sofocles, Hamlet and Macbeth by Shakespeare; Goriot Father by Balzac; Twenty Four Hours in a Woman’s Life by Stefan Zweig – extracting from them some fragments in which human (...) sufferings are explicit. We checked the importance of the speech in the emotions relief. We verified in the psychoanalytic and literary speeches that the poetic art seems to illuminate Freud’s steps in such a way that the poets anticipated the technical and psychoanalytic theory. (shrink)

At least since Aristotle, phronesis (practical wisdom) and poetics (making or creating) have been understood as essentially different activities, one moral the other (in itself) non-moral. Today, if anything, this distinction is sharpened by a Romantic association of poetics with inner subjective expression. Recent revivals of Aristotelian ethics sometimes allow for poetic dimensions of ethics, but these are still separated from practical wisdom per se. Through a fresh reading of phronesis in the French hermeneutical phenomenologist Paul Ricoeur, I argue that (...) phronesis should be viewed as at least in part poetic at its very core. That is, phronesis deals with the fundamentally tragic human situation of moral incommensurability, and it responds to this by making or creating new moral meaning. Such a poetics of practical wisdom helps phronesis stand up to significant and important critiques made of it by a range of modernists and post-modernists, pointing a way forward for some important contemporary moral debates. (shrink)

This book examines tragedy and tragic philosophy from the Greeks through Shakespeare to the present day. It explores key themes in the links between suffering and ethics through postcolonial literature. Ato Quayson reconceives how we think of World literature under the singular and fertile rubric of tragedy. He draws from many key works – Oedipus Rex, Philoctetes, Medea, Hamlet, Macbeth, and King Lear – to establish the main contours of tragedy. Quayson uses Shakespeare's Othello, Chinua Achebe, Wole (...) Soyinka, Tayeb Salih, Arundhati Roy, Toni Morrison, Samuel Beckett and J.M. Coetzee to qualify and expand the purview and terms by which Western tragedy has long been understood. Drawing on key texts such as The Poetics and The Nicomachean Ethics, and augmenting them with Frantz Fanon and the Akan concept of musuo, Quayson formulates a supple, insightful new theory of ethical choice and the impediments against it. This is a major book from a leading critic in literary studies. (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)

This book develops a bold poetics based on the author's critical reexamination of the views of Plato.

What is it about the nature of "soul" that makes it so difficult to adequately capture its complexity in a strictly discursive account? Why do some of the most profound human experiences elude our attempts to theorize them? How can a written document do justice to the dynamic activity of thinking, as opposed to merely presenting a collection of thoughts-as-artifacts? Finally, what can we learn about the activity of philosophizing, and about the human soul, by reflecting on the possibilities and (...) limitations of writing? These concerns, in various forms and in different registers, have preoccupied Michael Davis throughout his distinguished career. This volume is in honor of, and in dialogue with, Davis's work, which spans ancient philosophy and literature, continental philosophy and political philosophy. It includes original essays by numerous distinguished scholars in the fields of philosophy and political science. The remarkable range and caliber of the contributions attest to the breadth and depth of Davis's influence. The essays in Part I of the volume explore the nature of soul through the lens of tragedy. Part II consists of three essays that explore the human longing for perfect knowledge and completion--and the obstacles to the fulfilment of that longing--in relation to the divine. In Part III, the essays address the distinctive challenges of the political sphere and philosophy's relation to it. And while the relationship between philosophy and poetry is an implicit theme throughout the volume, the essays in Part IV focus directly on philosophy's aestheticizing tendencies. Many different philosophical and literary works are discussed throughout these chapters, including ancient works such as Plato's Republic, Euthydemus and Laws, Homer's Iliad, and Euripides' Trojan Women, as well as works by modern philosophers such as Rousseau, Kant, Hegel, Kierkegaard and Nietzsche. In addition, three essays analyze some of Shakespeare's plays in relation to the thought of Plato and Machiavelli. All of the essays are thematically linked by a common thread as they attend to the poetic dimension of philosophical thinking. Michael Davis is Professor of Philosophy at Sarah Lawrence College, where he has taught since 1977 and has been the Sarah Yates Exley Chair in Teaching Excellence (2003-2005). He has also taught on the graduate faculty at Fordham University and the New School for Social Research. He is the author of numerous articles and books, which include: Ancient Tragedy and the Origins of Modern Science; The Poetry of Philosophy: On Aristotle's Poetics; The Politics of Philosophy: A Commentary on Aristotle's Politics; The Autobiography of Philosophy; Rousseau's The Reveries of the Solitary Walker; Wonderlust: Ruminations on Liberal Education; and The Soul of the Greeks: An Inquiry. He is also co-translator (with Seth Benardete) of Aristotle's On Poetics. Contributors include: Abraham Anderson, Jonathan Badger, Robert Berman, Ronna Burger, Kenneth DeLuca, Gwenda-lin Grewal, Scott Hemmenway, Paul Kirkland, Mary Nichols, Denise Schaeffer, Paul Stern, Richard Velkley, Lisa Pace Vetter, Ann Ward, Lee Ward, Catherine Zuckert and Michael Zuckert. About the Editor: Denise Schaeffer is Professor of Political Science at the College of the Holy Cross. She is the author of Rousseau on Education, Freedom and Judgment and contributing co-editor (with Christopher Dustin) of Socratic Philosophy and Its Others. She is co-editor (with Gregory McBrayer and Mary P. Nichols) of the Focus Philosophical Library edition of Plato's Euthydemus, for which she authored the Introduction and co-authored the Interpretive Essay. (shrink)

This volume integrates aspects of the Poetics into the broader corpus of Aristotelian philosophy. It both deals with some old problems raised by the treatise, suggesting possible solutions through contextualization, and also identifies new ways in which poetic concepts could relate to Aristotelian philosophy. In the past, contextualization has most commonly been used by scholars in order to try to solve the meaning of difficult concepts in the Poetics. In this volume, rather than looking to explain a specific concept, the (...) contributors observe the concatenation of Aristotelian ideas in various treatises in order to explore some aesthetic, moral and political implications of the philosopher's views of tragedy, comedy and related genres. Questions addressed include: Does Aristotle see his interest in drama as part of his larger research on human natures? What are the implications of tragic plots dealing with close family members for the polis? What should be the role of drama and music in the education of citizens? How does dramatic poetry relate to other arts and what are the ethical ramifications of the connections? How specific are certain emotions to literary genres and how do those connect to Aristotle's extended account of pathe? Finally, how do internal elements of composition and language in poetry relate to other domains of Aristotelian thought? The Poetics in its Aristotelian Context offers a fascinating new insight to the Poetics, and will be of use to anyone working on the Poetics, or Aristotelian philosophy more broadly. (shrink)

Aimed at deepening our understanding of the Poetics, this collection places Aristotle's analysis of tragedy in its larger philosophical context.

ABSTRACT: Hall (1996) raises the question of the relationship between Aristotle’s Politics and Poetics by claiming that Aristotle had separated drama from its civic origins; various rejoinders to her challenge can be found in Heath (2009) and Jones (2012). In response to this question, I argue that a central connection between these two works is their shared concern about the effects of performance—both in the case of drama and music—either for performers or their audience. Aristotle’s criticisms of “spectacle” (opsis) in (...) tragedy—a problem taken up most recently in Bouchard (2012), Hanink (2011), Konstan (2013), Sifakis (2013), and Wise (2008)—thus parallel his criticisms of slavishness in musical performance in Politics 8. Thus, the problem of Aristotle’s silence about tragedy in his account of education in Politics 8—a problem taken up by Lord (1982) and more recently Ford (2004)—is explainable on the basis of an explicit and central doctrine from the Poetics, namely that a drama can produce the function of tragedy independent of public performance. On my reading, Aristotle’s Politics and Poetics together retain tragedy as a central “cultural” institution for the liberally educated citizen, a view completely consistent with everything Aristotle defends about tragedy in the Poetics. But Politics 8 displaces tragedy as the pre-eminent form of public education and in its place supplies instrumental music—no doubt much to the consternation of Athenian democrats both historically and their kindred spirits in contemporary drama and classics departments. My paper concludes by articulating and speculating about why music eclipses tragedy as the pre-eminent form of liberal arts education in Aristotle’s best regime. (shrink)

Can horror films be tragic? From an Aristotelian point of view, the answer would seem to be no. For it is hard to see how a film that places a monster at the center of the plot could evoke pity and fear in the audience. This paper argues that some films belong to both horror and tragedy, and so can be accommodated as tragedies according to Aristotle's framework in the Poetics.

This book examines Greek engagements with the past as articulations of memory formulated against the contingency of chance associated with temporality. Based on a phenomenological understanding of temporality, it identifies four memorializing strategies: continuity , regularity , development, and acceptance of chance. This framework serves in pursuing a twofold aim: to reconstruct the literary field of memory in fifth-century bce Greece; and to interpret Greek historiography as a memorializing mode. The key contention advanced by this approach is that acts of (...) memory entailed an “idea of history” that was articulated not only in historiography, but also in epinician poetry, elegy, tragedy, and oratory. The book offers a rich account of poetic conventions and contexts through which each of these genres counterbalanced contingency through the use of exemplary and traditional modes of memory. This fine analysis highlights the grip of the present on the past as a significant feature of both historiographical and nonhistoriographical genres.The essay argues that this work fills a disciplinary gap by extending the reflection on memory to a new period, Greek antiquity. The retrospective positioning of this period at the outset of Western historical thought brings Grethlein's investigation to the center of debates about memory, temporality, and the meaning history. In engaging with the book's argument, the essay suggests that historiographical memory emerged in Greece not as a first-order encounter with time, but as a second-order encounter with forgetting. This confrontation marked a certain separation of historiography from other memorializing genres. Whereas poetic and rhetorical memories were posited against contingency, historiography sought to retrieve those aspects of the past that may otherwise have been irretrievably lost and forgotten. In doing so, it formulated the historiographical imperative as a negation of forgetting that problematized the truth-value of memory and the very act of remembering the past. (shrink)

Hall (1996) raises the question of the relationship between Aristotle’s Politics and Poetics by claiming that Aristotle had separated drama from its civic origins; various rejoinders to her challenge can be found in Heath (2009) and Jones (2012). In response to this question, I argue that a central connection between these two works is their shared concern about the effects of performance—both in the case of drama and music—either for performers or their audience. Aristotle’s criticisms of “spectacle” (opsis) in (...) class='Hi'>tragedy—a problem taken up most recently in Bouchard (2012), Hanink (2011), Konstan (2013), Sifakis (2013), and Wise (2008)—thus parallel his criticisms of slavishness in musical performance in Politics 8. Thus, the problem of Aristotle’s silence about tragedy in his account of education in Politics 8—a problem taken up by Lord (1982) and more recently Ford (2004)—is explainable on the basis of an explicit and central doctrine from the Poetics, namely that a drama can produce the function of tragedy independent of public performance. On my reading, Aristotle’s Politics and Poetics together retain tragedy as a central “cultural” institution for the liberally educated citizen, a view completely consistent with everything Aristotle defends about tragedy in the Poetics. But Politics 8 displaces tragedy as the pre-eminent form of public education and in its place supplies instrumental music—no doubt much to the consternation of Athenian democrats both historically and their kindred spirits in contemporary drama and classics departments. My paper concludes by articulating and speculating about why music eclipses tragedy as the pre-eminent form of liberal arts education in Aristotle’s best regime. (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)

In Poetics 13, Aristotle claims that the protagonist in the most beautiful tragedies comes to ruin through some kind of ‘failure’—in Greek, hamartia. There has been notorious disagreement among scholars about the moral responsibility involved in hamartia. This article defends the old reading of hamartia as a character flaw, but with an important modification: rather than explaining the hero's weakness as general weakness of will (akrasia), it argues that the tragic hero is blinded by temper (thumos) or by a pursuit (...) for fine, good and desirable things—that is, by what may be labelled ‘qualified’ weakness of will. The upshot is that hamartia ends up as being less blameworthy than ‘proper’ akrasia, but still explains why morally outstanding people are unsuitable for the most beautiful tragedies. (shrink)

But since the Greeks first wrote what they called tragedies and comedies, and Aristotle in The Poetics formulated some distinctions about them, writers have been conscious of the two modes as engaging them in different undertakings, involving them in different worlds, each with its own demands. They have gauged their predilections and capacities against the demands of each and have deliberately chosen one or the other, or some calculated mixture. They are often quite explicit about it. Shakespeare announced his plays (...) as "tragedies" or "comedies" or, when he chose, he mixed the forms with the recklessness of Polonius. Marlowe spoke his intention when in the Prologue to Tamburlaine he asked his audience to view his hero in "the tragic glass." Ben Jonson ventured into tragedy in his own scholarly, methodical way, boasting to have discharged all the crucial "offices of a Tragic writer," which he lists straight out of Aristotle. Milton's choice of the tragic form to express his final mood was of course deliberate and, especially in relation to the tragic undertones of his great epic, significant. Artists are free--but free to choose their own sort of bondage. It is they and not so much the critics who have worked to maintain the integrity of the forms. Their conscious, explicit choices show that in their eyes the forms are real, and different, and not merely an academic conspiracy. The phenomenon is a powerful example of the fruitful interaction of tradition and individual talent. (shrink)

A Distinction of four species of tragedy and epic poetry is laid down, though not explained at length, in two passages of the Poetics, and, as I hope to show, mentioned in another. At the end of the treatise, Aristotle positively says that he has given an explanation of both the species and the component parts of tragedy and epic poetry.

David Farrell Krell reflects on nine writers and philosophers, including Heidegger, Derrida, Blanchot, and Holderlin, in a personal exploration of the meaning of sensual love, language, tragedy, and death. The moon provides a unifying image that guides Krell's development of a new poetics in which literature and philosophy become one. Krell pursues important philosophical motifs such as time, rhythm, and desire, through texts by Nietzsche, Trakl, Empedocles, Kafka, and Garcia Marquez. He surveys instances in which poets or novelists explicitly (...) address philosophical questions, and philosophers confront literary texts--Heidegger's and Derrida's appropriations of Georg Trakl's poetry, Blanchot's obsession with Kafka's tortuous love affairs, and Garcia Marquez's use of Nietzsche's idea of the Eternal Return--all linked by the tragic hero Empedocles. In his search to understand the insatiable desire for completeness that patterns so much art and philosophy, Krell investigates the identification of the lunar voice with woman in various roles--lover, friend, sister, shadow, and narrative voice. (shrink)

In this essay, I want to provide an introduction to Aristotle's theory of the Greek Tragedy, which he outlines in his book, the Poetics . Many philosophers since Aristotle, including Friedrich Nietzsche and Walter Benjamin, have analysed tragic art and developed their own theories of how it works and what it is for. What makes Aristotle's theory interesting is that it is as relevant to art today as it was in Ancient Greece because it explains the features of not (...) just tragic art, but of the films and stories that we enjoy today. I will explain the features that Aristotle says make a good tragic play and give examples of them from popular culture. The examples I give will be from tragedy, but also from romance, crime and fantasy to demonstrate how he has outlined, not just the features of Greek Tragedy, but also the internal workings of the drama that we enjoy today. The contemporary relevance of Aristotle's theory is in the fact that the features he outlines are basic features of great stories, which I think is best illustrated by applying Aristotle's analysis to popular Hollywood movies. (shrink)

In Umberto Eco’s classic novel The Name of the Rose, we are introduced to a decidedly Platonic fear of laughter. According to the blind librarian Jorge de Burgos, “[l]aughter is weakness, corruption, the foolishness of our flesh. It is the peasant’s entertainment, the drunkard’s license;... laughter remains base, a defense for the simple, a mystery desecrated for the plebeians.”1 Laughter could not accompany insight or clarity or revelation. By destroying the last known copy of the second part of Aristotle’s Poetics, (...) which delves into comedy after the already-familiar investigation of tragedy, de Burgos hopes to undermine any argument that claims to find significance in comic content. Indeed, the central plot of... (shrink)

This essay explains the appearance of tragic narrative patterns and motifs in the Croesus logos not as a passive manifestation of "tragic influence," but as a self-conscious textual strategy whereby Herodotus makes his narratives familiar and engaging while also demonstrating the distinctive traits of his own innovative discourse, historie. Herodotus' purposive appropriation and modification of tragic technique manifests the critical engagement with other authors and literary genres that is one of the defining features of the Histories. Herodotus embellishes the story (...) of Atys and Adrastus with numerous formal and thematic features of Attic tragedy. Uniquely in the Histories, the story traces the full arc of a tragic drama, from the king's ominous dream of Atys' death to catastrophe, lament, and burial. The celebrated climactic description of Adrastus' suicide, however, transcends Herodotus' dramatic model. In describing Adrastus as the most unfortunate man "of all that he himself knew," Herodotus introduces an idiom used elsewhere in the Histories to portray the activity of the histor, and thus places the unmistakable stamp of his own genre upon tragic narrative. In a fully mimetic episode that lacks the author's characteristically intrusive "voiceprint," Herodotus seems to suggest that he could beat the dramatists at their own game if he chose to play it. Two other episodes make similar use of tragic motifs on a smaller scale. In the story of Gyges and Candaules Herodotus adapts the Aeschylean motif of the decision made under duress to focus attention on human causation and socio-political issues of fundamental interest to him. Finally, the tragic stylization of Croesus' pyre scene allows Herodotus to manipulate audience expectations while subtly demonstrating, through the use of indirect discourse, the interest in source criticism that sets Herodotean historie apart from the poetic tradition. (shrink)