Aristotle's Works in Aesthetics

Che gli esseri umani siano i soli animali capaci di ridere e piangere può essere messo in dubbio, ma che siano gli unici a sviluppare degli strumenti a questo scopo, non può esserlo. Tragedia e commedia, i due fronti dell’arte drammatica codificati da Aristotele nella "Poetica", sono proprio questi strumenti. La difficoltà a conferire un significato univoco a questi due magmatici termini, è sintomatica. In questo breve scritto tento di identificare la ragione di questa difficoltà e proporre un’ipotesi di lavoro (...) per risolverla, o per lo meno approcciarla. (shrink)

We are political creatures, and we all need others who care about the development of our character and who offer guidance and advice; “if this were not so, we there would be no need for an instructor” (N. Ethics, 1003b12-3). We imitate those who have already successfully developed courage or moderation, acting as if we were brave or moderate, struggling at first, but slowly training ourselves...but, if “acting-as-if” and imitation are the keys to developing virtue, then surely the Poetics will (...) provide a clue to Bk. II of the Ethics, and in a way that may add to our understanding of how ethics and aesthetics are connected. (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)

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, (...) imitation, and the emotions. (shrink)

The paper starts with reflections on Plato’s critique of the poets and the preference many express for Aristotle’s view of poetry. The second part of the paper takes a case study of analytic treatments of ancient philosophy, including the ancient philosopher poets, to examine the poetics of analytic philosophy, diagnosing a preference in Analytic philosophy for a clean non-poetic style of presentation, and then develops this in considering how well historians of philosophy in the Analytic tradition can accommodate the contributions (...) of philosophers who wrote in verse. The final part of the paper reviews the current enthusiasm for decoding Empedocles’ vague and poetic descriptions of the cosmic cycle into a precise scientific periodicity on the basis of the recently discovered Byzantine scholia on Aristotle. I argue that this enthusiasm speaks to a desire for definite and clear numerical values in place of poetic motifs of give and take, and that this mathematical and scientific poetic is comparable to the preferred poetic of analytic philosophy. (shrink)

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)