Ontology and the Art of Tragedy: An Approach to Aristotle's by Martha Husain

By Martha Husain

A expert paintings for these learning or learning Aristotle and his philosophy. Husain proposes an method of interpreting Poetics in accordance with rules and standards linked to Aristotle's philosophy of being. this isn't a translation, nor a statement at the textual content itself, yet a learn of the uniqueness of Poetics from Aristotle's corpus.

The Poetics, Aristotle's research of the literature of old Greece, is taken into account by means of many to be the starting place of Western literary feedback. His exam of comedy, tragedy, and the Greek epic shape could be the 1st and such a lot influential formal research within the Western literary culture. As such, the Poetics has been subjected to massive dissection and important research due to the fact its visual appeal round 330 B.C.E. during this exciting new paintings, Husain argues that the Poetics might be learn in gentle of one other of Aristotle's works, the Metaphysics. Husain states in her advent that her research "is now not a brand new translation, nor basically a brand new exegesis of the Poetics, yet a sustained mirrored image at the ideas and standards that are meant to advisor an method of the textual content. It goals at constructing a canon for institution, translation, and exegesis of the text." To this finish, Husain succeeds admirably in demonstrating the shut hyperlinks among the Poetics and the Metaphysics and offers necessary instruments for destiny research of the paintings.

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Extra info for Ontology and the Art of Tragedy: An Approach to Aristotle's Poetics (SUNY Series in Ancient Greek Philosophy)

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For consider the distance between them. Aristotelian techne APPROACH TO THE POETICS 23 imitates the methods and processes of physis rather than the descriptive content of the products of physis—while Platonic techne imitates the descriptive content of the products of physis. Therefore, the products of techne are not copies of natural things for Aristotle—while they are copies for Plato. A painting of a bed is a painting for Aristotle—while it is a bed for Plato. Both physis and techne create originals for Aristotle—while neither one, nor even the demiurge himself, can do so for Plato.

The generic nature, mimesis, is differentiated into specific natures by means of three types of differentiae, which are responsive to the generic nature itself. They are modes of imitating, modes of having representational content. They contain no reference to any secondary category nor to any other ousia. What is more, Aristotle in his subsequent elaboration adds no other types of differentiae nor modifies the original three. 6 In the first sentence of the text Aristotle announces that he will begin with first principles (apo ton proton).

Mimesis 1 is prior to mimesis 2, and since the former gives a tragedy the categorial status of an ousia, the latter must incorporate representational content into that status. Third, there is simply no already existing ousia available, whose pros hen dependent accident a tragedy could be. Only two ousiai could be considered for this role, both individual human beings. One is the playwright as the efficient cause who makes it, the other is the recipient as the patient who reads or sees it performed.

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