Aristotle's Works in Aesthetics

This essay examines a venerable question in Western culture: how to distinguish the ”humanities” from other forms of knowledge. The Aristotelian threefold division of the sciences in Part I of the essay, in contrast to some familiar but unsatisfactory options for defining the humanities from modernity to antiquity, is re-considered as a basis for a different approach to the subject. Part II, however, relates the divergent system of knowledge taxonomy in historical Chinese culture to provide the necessary comparative context. From (...) a brief review of what Aristotle proposes as criteria for true knowledge as distinct from opinion or belief, Part III proceeds to present his formulation of the theoretical sciences (metaphysics, mathematics, and physics) mandating necessary hypotheses and propositions that aim to end in absolute certitude of knowledge. The practical sciences (ethics and politics), by contrast, have as their end not knowledge but right action. In Part IV, Aristotle's understanding of the productive sciences (articulated principally in the Poetics) and his concept of mimesis as an artificial or artful product lead to our thesis that the humanities represent the study of the meaning of human products. Such meaning, according to Aristotle, is inseparably tied to deciphering the rational process of how a thing is made and made well. The essay’s closing section further argues, however, that even in this compelling schematization of Aristotle, contextualized comparatively by brief reflection on Chinese materials and language, the separation of the humanities from what we regard today as natural or physical sciences cannot be complete or absolute. -/- . (shrink)

The phrase τὰ γνώριμα ὀλίγοις γνώριμά ἐστιν that occurs in the ninth chapter of the Aristotelian Poetics was usually interpreted as a statement of Aristotle that the public at his time did not know the myths. It was therefore regarded as problematic in view of other Aristotelian passages but also in view of information provided by other authors concerning the knowledge of the public. The problem, however, can be solved if one understands the dative ὀλίγοις not as personal dative, but (...) as dativus respectus or instrumentalis. The present paper argues in support of this interpretation on the basis of linguistic parallels as well as on the basis of comments on the content. (shrink)

Em meio à chamada “virada biológica” dos estudos aristotélicos, seguiremos a hipótese levantada por alguns comentadores de que a Poética de Aristóteles partilha do modelo biológico estrutural de seu pensamento, o que implica que também a poesia possuiria uma “história natural”. Sendo assim, o propósito deste artigo é o de pensar a comédia a partir deste paradigma. O texto dividir-se-á em duas partes principais: primeiramente, apresentaremos evidências que corroboram a hipótese de que a Poética foi escrita tendo como modelo estrutural (...) a biologia de Aristóteles e, por conta disso, deve ser lida tendo isso como pano de fundo. Em segundo lugar, aplicaremos esse modelo de pensamento à comédia, de modo a conjecturar o que seria plenamente a arte cômica numa perspectiva aristotélica. (shrink)

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)

Pierre Destrée’s new translation of Aristotle’s Poetics notes the work’s “destin paradoxal”: How can a work on Greek tragedy remain silent on the political, social, religious, or performative aspects of an artform that in historical context was profoundly public? How can a handbook on the various aspects of playwriting produce a superior drama when Aristotle himself acknowledges that artistic production is a matter of imagination? Destrée’s answer: Aristotle’s Poetics is neither an historical study of a classical Greek cultural institution nor (...) a handbook for aspiring playwrights. Rather, as is often the case with Aristotle’s treatises, Aristotle has created or carved out a new field for investigation and reflection; thus the Poetics creates the field of aesthetics, namely the study of beauty in the arts. Destrée has successfully produced a volume that provides general readers of Aristotle’s Poetics with the historical, literary, and philosophical tools that will allow them to appreciate that much of what seems odd about that text is only paradoxical. (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)

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)

Aristotle’s claim that poetry is ‘a more philosophic and better thing’ than history (Poet 9.1451b5-6) and his description of the ‘poetic universal’ have been the source of much scholarly discussion. Although many scholars have mined Poetics 9 as a source for Aristotle’s views towards history, in my contribution I caution against doing so. Critics of Aristotle’s remarks have often failed to appreciate the expository principle which governs Poetics 6-12, which begins with a definition of tragedy and then elucidates the terms (...) of that definition by means of a series of juxtapositions. The juxtaposition between poetry and history is one such instance which seeks to elucidate what sort of plot exemplifies a causal unity such that the events of a play unfold with likelihood or necessity. Within that context, Aristotle compares history and poetry in order to elucidate the object of poetic mimesis rather than criticize history as a discipline. Viewing Aristotle as antagonistic towards history fails to appreciate the expository structure of the Poetics and obscures the resource which history provides to the poet, a point which I explore by considering what Aristotle would have thought of an ‘historical’ tragedy like Aeschylus’ Persians. (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 (wittiness) 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)