Ad
related to: aristotle's principles of tragedy and love
Search results
Results From The WOW.Com Content Network
Aristotle considers length or time in a distinction between the epic and tragedy: Well then, epic poetry followed in the wake of tragedy up to the point of being a (1) good-sized (2) imitation (3) in verse (4) of people who are to be taken seriously; but in its having its verse unmixed with any other and being narrative in character, there they ...
Kullervo, a tragic hero from the Karelian and Finnish Kalevala. The influence of the Aristotelian hero extends past classical Greek literary criticism.Greek theater had a direct and profound influence on Roman theater and formed the basis of Western theater, with other tragic heroes including Macbeth in William Shakespeare's The Tragedy of Macbeth, and Othello in his Othello. [4]
Aristotle's work on aesthetics consists of the Poetics, Politics (Bk VIII), and Rhetoric. [8] The Poetics was lost to the Western world for a long time. The text was restored to the West in the Middle Ages and early Renaissance only through a Latin translation of an Arabic version written by Averroes. [9]
As Gerard Hughes points out, in Books VIII and IX of his Nicomachean Ethics Aristotle gives examples of philia including: . young lovers (1156b2), lifelong friends (1156b12), cities with one another (1157a26), political or business contacts (1158a28), parents and children (1158b20), fellow-voyagers and fellow-soldiers (1159b28), members of the same religious society (1160a19), or of the same ...
Mythos [from Ancient Greek μῦθος mûthos] is the term used by Aristotle in his Poetics (c. 335 BCE) to mean an Athenian tragedy's plot as a "representation of an action" [1] or "the arrangement of the incidents" [2] that "represents the action". [3]
Murnaghan argues that, instead of a problem to be solved, Aristotle's contradiction expresses the ambivalence of many observers toward tragedy's violence. She finds that the death-avoiding incident Aristotle prefers reflects the essence of theater, since both allow us to confront death safely. [ 84 ]
Aristotle says that peripeteia is the most powerful part of a plot in a tragedy along with discovery. A peripety is the change of the kind described from one state of things within the play to its opposite, and that too in the way we are saying, in the probable or necessary sequence of events.
Aristotle conceived of politics as being like an organism rather than like a machine, and as a collection of parts none of which can exist without the others. Aristotle's conception of the city is organic, and he is considered one of the first to conceive of the city in this manner. [144] Aristotle's classifications of political constitutions.