Search results
Results from the WOW.Com Content Network
Poetic justice describes an obligation of the dramatic poet, along with philosophers and priests, to see that their work promotes moral behavior. [10] 18th-century French dramatic style honored that obligation with the use of hamartia as a vice to be punished [10] [11] Phèdre, Racine's adaptation of Euripides' Hippolytus, is an example of French Neoclassical use of hamartia as a means of ...
Peripeteia / ˌ p ɛr ə p ɪ ˈ t eɪ. ə / (alternative Latin form: Peripetīa, ultimately from Greek: περιπέτεια) is a reversal of circumstances, or turning point. The term is primarily used with reference to works of literature; its anglicized form is peripety .
Anagnorisis originally meant recognition in its Greek context, not only of a person but also of what that person stood for. Anagnorisis was the hero's sudden awareness of a real situation, the realisation of things as they stood, and finally, the hero's insight into a relationship with an often antagonistic character in Aristotelian tragedy. [1]
Aristotle's Poetics (Ancient Greek: Περὶ ποιητικῆς Peri poietikês; Latin: De Poetica; [1] c. 335 BCE [2]) is the earliest surviving work of Greek dramatic theory and the first extant philosophical treatise to focus on literary theory.
Catharsis is from the Ancient Greek word κάθαρσις, katharsis, meaning "purification" or "cleansing", commonly used to refer to the purification and purgation of thoughts and emotions by way of expressing them. The desired result is an emotional state of renewal and restoration.
He was professor of Greek and Latin at University of Michigan and University of Iowa. Else is substantially credited with the refinement of Aristotelian scholarship in aesthetics in the 20th century to expand the reading of catharsis alone to include the aesthetic triad of mimesis, hamartia, and catharsis as all essentially linked to each other ...
In drama, particularly the tragedies of classical antiquity, the catastrophe is the final resolution in a poem or narrative plot, which unravels the intrigue and brings the piece to a close.
Greek mythology has changed over time to accommodate the evolution of their culture, of which mythology, both overtly and in its unspoken assumptions, is an index of the changes. In Greek mythology's surviving literary forms, as found mostly at the end of the progressive changes, it is inherently political, as Gilbert Cuthbertson (1975) has argued.