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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 ...
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.
Anagnorisis (/ ˌ æ n ə ɡ ˈ n ɒr ɪ s ɪ s /; Ancient Greek: ἀναγνώρισις) is a moment in a play or other work when a character makes a critical discovery. Anagnorisis originally meant recognition in its Greek context, not only of a person but also of what that person stood for.
Aristotle referred to the reversal of direction as peripeteia or peripety, which depends frequently on a recognition or discovery by the protagonist. Aristotle called this discovery an anagnorisis —a change from "ignorance to knowledge" involving "matters which bear on prosperity or adversity". [ 90 ]
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 .
There are separate articles on the Greek words catharsis and hamartia. The debates concerning each of those terms originate from discussion of the Poetics. But there is another, lesser known but nevertheless central and very old debate concerning Aristotle's Poetics, namely the contradiction of chapters 13 and 14.
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]
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 ...