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Author: Gregory Scott
Publisher:
ISBN: 9781952627019
Category :
Languages : en
Pages : 128
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Book Description
This book includes a translation and commentary on the Greek text known as PERI POIETIKES. The translation interprets the Greek following Diotima of Plato's SYMPOSIUM for the first time ever. She explains the most fundamental term poi?sis as "'music' and verse' rather than what the tradition assumed since the first commentaries by the Arabic scholars 1000 years ago, "language in verse," that is "poetry," which the sophist Gorgias only coined when Aristotle's mentor Plato was a young man. The translation emends the famous version of Ingram Bywater, correcting seven core Greek terms like poi?sis, rhuthmos (rhythm or dance), melos (limb, melody or music) and harmonia (harmony, song, or music). As a result, and contrary to the tradition, Aristotle is seen to be examining dramatic "musical" creation for the theater rather than mere literature . Many unsolved dilemmas vanish, such as why there is not poem or no treatment of any purely literary forms of ancient Greece in the treatise. Only three "dramatic" art forms are analyzed: tragedy, comedy and epic (which is said in its definition to be composed on dramatic principles even though it does not have the singing and dancing chorus that the fully dramatic arts have); hence the more apt title. Criticisms that have leveled at Aristotle by literary theorists over centuries lose their sting as a consequence because his intention is shown not to present a theory of literature. The additional and doubly ironic criticism by drama theorists that Aristotle does not appreciate performance likewise evaporates. The rigorous arguments justifying the translation, have been published in ARISTOTLE ON DRAMATIC MUSICAL COMPOSITION: THE REAL ROLE OF LITERATURE, CATHARSIS, MUSIC AND DANCE IN THE POETICS by the same author (New York: ExistencePS Press, 2nd. ed., 2018), with core chapters being published by Cambridge University Press (1999) and Oxford Studies in Ancient Philosophy (2003).
Author: Gregory Scott
Publisher:
ISBN: 9781952627019
Category :
Languages : en
Pages : 128
Get Book Here
Book Description
This book includes a translation and commentary on the Greek text known as PERI POIETIKES. The translation interprets the Greek following Diotima of Plato's SYMPOSIUM for the first time ever. She explains the most fundamental term poi?sis as "'music' and verse' rather than what the tradition assumed since the first commentaries by the Arabic scholars 1000 years ago, "language in verse," that is "poetry," which the sophist Gorgias only coined when Aristotle's mentor Plato was a young man. The translation emends the famous version of Ingram Bywater, correcting seven core Greek terms like poi?sis, rhuthmos (rhythm or dance), melos (limb, melody or music) and harmonia (harmony, song, or music). As a result, and contrary to the tradition, Aristotle is seen to be examining dramatic "musical" creation for the theater rather than mere literature . Many unsolved dilemmas vanish, such as why there is not poem or no treatment of any purely literary forms of ancient Greece in the treatise. Only three "dramatic" art forms are analyzed: tragedy, comedy and epic (which is said in its definition to be composed on dramatic principles even though it does not have the singing and dancing chorus that the fully dramatic arts have); hence the more apt title. Criticisms that have leveled at Aristotle by literary theorists over centuries lose their sting as a consequence because his intention is shown not to present a theory of literature. The additional and doubly ironic criticism by drama theorists that Aristotle does not appreciate performance likewise evaporates. The rigorous arguments justifying the translation, have been published in ARISTOTLE ON DRAMATIC MUSICAL COMPOSITION: THE REAL ROLE OF LITERATURE, CATHARSIS, MUSIC AND DANCE IN THE POETICS by the same author (New York: ExistencePS Press, 2nd. ed., 2018), with core chapters being published by Cambridge University Press (1999) and Oxford Studies in Ancient Philosophy (2003).
Author: Aristotle
Publisher: Createspace Independent Publishing Platform
ISBN: 9781544217574
Category :
Languages : en
Pages : 82
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Book Description
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama - comedy, tragedy, and the satyr play - as well as lyric poetry and epic poetry). They are similar in the fact that they are all imitations but different in the three ways that Aristotle describes: 1. Differences in music rhythm, harmony, meter and melody. 2. Difference of goodness in the characters. 3. Difference in how the narrative is presented: telling a story or acting it out. In examining its "first principles," Aristotle finds two: 1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion. Although Aristotle's Poetics is universally acknowledged in the Western critical tradition, "almost every detail about his seminal work has aroused divergent opinions."
Author: Gregory L. Scott
Publisher: Existenceps
ISBN: 9780999704943
Category : Aesthetics, Ancient
Languages : en
Pages : 300
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Book Description
This book revolutionizes the 1000-year old tradition that stems from the first commentaries on the Poetics by the Arabic scholars. (No commentary exists from antiquity or Byzantine times.) Starting with those scholars, Aristotle's treatise has always been thought to be about poetic-literary theory, with tragedy being its paradigm. Scott demonstrates, however, that Aristotle (c. 384-322 BCE) employs poiesis not in the way universally assumed until now, as "poetry," which the sophist Gorgias only coined in 415 BCE. Rather, Aristotle follows Diotima, who in the Symposium of Plato (c. 424-347) explains poiesis as mousike kai metra (typically "'music' and verses"). One reason Aristotle employs the Diotiman and not the Gorgian sense of poiesis is that not one poem exists in the so-called "Poetics"; another reason is that the definition of tragedy includes "music." Scott subsequently demonstrates that Aristotle considers tragedy not to be a species of literature but one of dramatic musical theater that also requires dance and spectacle. Chapter 2 includes a revised version of Scott's "The Poetics of Performance" (Cambridge University Press, 1999). The book also supplements his arguments of "Purging the Poetics" (Oxford Studies in Ancient Philosophy, 2003), reprinted here as Chapter 5, providing the additional reasons why Aristotle could not have written the clause with the words catharsis, pity, and fear in the definition of tragedy, as a number of internationally known ancient Greek specialists have already been accepting. As part of his reasons, Scott shows that, despite their recent, very admirable paleography, Leonardo Tarán and Dmitri Gutas too often mangle the philosophical interpretations and even some of the philology regarding the "musical" terms, especially when they try to sweep the problems of catharsis under the rug. Also, Tarán and Gutas never even recognize the Diotiman sense of poiesis that Aristotle uses, nor do they recognize the philosophical contradictions with keeping the katharsis-clause. All of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been a major part of the foundation of Western literary, dramatic and artistic theory. UPDATES & ERRATA: www.epspress.com/ADMCupdates.html Contents Volume 1 includes: Plato's meanings of poiesis as "music-dance and verse" and his use of rhuthmos often not as "rhythm" but "dance"; the importance of dance in the state for Plato; Aristotle's agreement with his mentor on the meaning of the musical terms and the requirement of dance not only in the Poetics but in the Politics, along with the proof that Aristotle considers tragedy to be a species of dramatic "musical" art, not literature. 364 pages. List: Hardcover $68; Softcover $48. Volume 1 is available at www.amazon.com/dp/0999704923 Volume 2 (this book) includes the issues of catharsis, pity, and fear, and a complete rebuttal of the only attempted rigorous reply (by Stephen Halliwell in Between Ecstasy and Truth, 2011) to "Purging the Poetics." This volume also contains: Aristotle's response to Plato without catharsis; comedy; whether or not the principles of "musical" dramatic theater can be applied to art forms like literature and cinema; the history of the Poetics with regards to the two fundamental misconceptions; Bibliography; and Index for both volumes.
Author: Aristotle
Publisher:
ISBN:
Category : Aesthetics
Languages : en
Pages : 148
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Book Description
Author: Averroës
Publisher:
ISBN:
Category : Language Arts & Disciplines
Languages : en
Pages : 192
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Book Description
Aristotle's Poetics has held the attention of scholars and authors through the ages, and Averroes has long been known as "the commentator" on Aristotle. His Middle Commentary on Aristotle's Poetics is important because of its striking content. Here, an author steeped in Aristotle's thought and highly familiar with an entirely different poetical tradition shows in careful detail what is commendable about Greek poetics and commendable as well as blameworthy about Arabic poetics.
Author: Aristotle
Publisher: Prabhat Prakashan
ISBN:
Category : Fiction
Languages : en
Pages : 56
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Book Description
is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory. This has been the traditional view for centuries. However, recent work is now challenging whether Aristotle focuses on literary theory per se (given that not one poem exists in the treatise) or whether he focuses instead on dramatic musical theory that only has language as one of the elements.
Author: Stephen Halliwell
Publisher: University of Chicago Press
ISBN: 9780226313948
Category : Literary Criticism
Languages : en
Pages : 388
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Book Description
In this, the fullest, sustained interpretation of Aristotle's Poetics available in English, Stephen Halliwell demonstrates that the Poetics, despite its laconic brevity, is a coherent statement of a challenging theory of poetic art, and it hints towards a theory of mimetic art in general. Assessing this theory against the background of earlier Greek views on poetry and art, particularly Plato's, Halliwell goes further than any previous author in setting Aristotle's ideas in the wider context of his philosophical system. The core of the book is a fresh appraisal of Aristotle's view of tragic drama, in which Halliwell contends that at the heart of the Poetics lies a philosophical urge to instill a secularized understanding of Greek tragedy. "Essential reading not only for all serious students of the Poetics . . . but also for those—the great majority—who have prudently fought shy of it altogether."—B. R. Rees, Classical Review "A splendid work of scholarship and analysis . . . a brilliant interpretation."—Alexander Nehamas, Times Literary Supplement
Author: Mae J. Smethurst
Publisher: Rowman & Littlefield
ISBN: 0739172425
Category : Drama
Languages : en
Pages : 127
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Book Description
This book explores the ramifications of understanding the similarities and differences between the tragedies of Euripides and Sophocles and realistic Japanese noh. First, it looks at the relationship of Aristotle's definition of tragedy to the tragedies he favored. Next, his definition is applied to realistic noh, in order to show how they do and do not conform to his definition. In the third and fourth chapters, the focus moves to those junctures in the dramas that Aristotle considered crucial to a complex plot - recognitions and sudden reversals -, and shows how they are presented in performance. Chapter 3 examines the climactic moments of realistic noh and demonstrates that it is at precisely these moments that a third actor becomes involved in the dialogue or that an actor in various ways steps out of character. Chapter 4 explores how plays by Euripides and Sophocles deal with critical turns in the plot, as Aristotle defined it. It is not by an actor stepping out of character, but by the playwright's involvement of the third actor in the dialogue. The argument of this book reveals a similar symbiosis between plot and performance in both dramatic forms. By looking at noh through the lens of Aristotle and two Greek tragedies that he favored, the book uncovers first an Aristotelian plot structure in realistic noh and the relationship between the crucial points in the plot and its performance; and on the Greek side, looking at the tragedies through the lens of noh suggests a hitherto unnoticed relationship between the structure of the tragedies and their performance, that is, the involvement of the third actor at the climactic moments of the plot. This observation helps to account for Aristotle's view that tragedy be limited to three actors.
Author: Amélie Rorty
Publisher: Princeton University Press
ISBN: 9780691014982
Category : Literary Collections
Languages : en
Pages : 452
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Book Description
This collection of essays locates Aristotle's analysis of tragedy in its larger philosophical context. Philosophers, classicists, and literary critics connect the Poetics to Taristoltle's psychology and history, ethics an politics. There are discussions of plot and the unity of action, character and fictional necessity, catharsis, pity and fear, and aesthetic pleasure.
Author: Gregory L Scott
Publisher: Existenceps
ISBN: 9780999704998
Category : Philosophy
Languages : en
Pages : 368
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Book Description
To be used in tandem with any reasonable translation or with the ancient Greek, this book is designed for students. It demonstrates that the so-called POETICS, which has not one poem, is about ancient musical theater and that the words catharsis, pity and fear in tragedy's definition were wrongly interpolated by an editor after Aristotle.
