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Pity and fear are effected through reversal and recognition; and these "most powerful elements of emotional interest in Tragedy-Peripeteia or Reversal of the Situation, and recognition scenes-are parts of the plot (1450a 32). has the shift of the tragic protagonist's fortune from good to bad, which is essential to the plot of a tragedy.
Reversal theory is a structural, phenomenological theory of personality, motivation, and emotion in the field of psychology. [1] It focuses on the dynamic qualities of normal human experience to describe how a person regularly reverses between psychological states, reflecting their motivational style, the meaning they attach to a situation at a given time, and the emotions they experience.
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 .
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The structure of Rhetoric to Alexander is quite similar to that of Aristotle's work. [4] Chapters 1-5 deal with arguments specific to each of the species of rhetoric corresponding to the first book of Aristotle's work. Chapters 6-22 are about "uses" what Aristotle calls "topics", discussing them in the latter part of his second book.
Chapter 1.Aristotle defines words as symbols of 'affections of the soul' or mental experiences. Spoken and written symbols differ between languages, but the mental experiences are the same for all (so that the English word 'cat' and the French word 'chat' are different symbols, but the mental experience they stand for—the concept of a cat—is the same for English speakers and French speakers).
The question for the Chicago School (as it was for Aristotle) was always what the purpose of the theory of criticism was, what hypotheses were brought to bear by the theory about the nature of literature (for instance, whether it consisted of the words alone, or whether it was to be thought of as part of a larger context such as an era or an artist's life), and the definitions of words (such ...
The classicist J. A. Cramer, poring through the collection of Henri Charles du Cambout de Coislin, was struck by the content, believing it to be the work of a commentator on Aristotle's theory of comedy, and published it in 1839.