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The clarification theory of catharsis would be fully consistent, as other interpretations are not, with Aristotle's argument in chapter 4 of the Poetics (1448b4-17) that the essential pleasure of mimesis is the intellectual pleasure of "learning and inference". [17]
Dramatic theory [ edit ] The Tractatus states that comedy invokes laughter and pleasure, thus purging those emotions ( catharsis ), in a manner parallel to the description of tragedy in the Poetics .
For instance, Aristotle stated that Tragedy is an imitation, "not of persons but of action and life, of happiness and misery." [5] An aspect Aristotle had developed was his theory of catharsis, an aspect that Plato has rejected. [5] Catharsis, or in other words, purging of the emotions "through pity and fear," is accomplished by tragedy. [5]
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]
[4] For Else, catharsis is an Aristotelian concept which must be read alongside the literary concepts of mimesis and hamartia as well. These latter two concepts are usually paraphrased as "literary representation" and "intellectual error" in Else's appraisal of Aristotle's literary aesthetic theory.
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 ...
The Coimbra Commentaries, also known as the Conimbricenses or Cursus Conimbricenses, are a group of 11 books on Aristotle (only eight can be called commentaries). [1] They were produced as part of King John III of Portugal's efforts to make the University of Coimbra rival the University of Paris. [1]
Porphyry sought to show that Plato and Aristotle were in harmony with each other, especially in regards to the compatibility of Aristotle's Categories with Plato's Theory of Forms. [3] Porphyry's pupil Iamblichus continued this process of harmonising Plato and Aristotle, and Dexippus , a disciple of Iamblichus , wrote a Reply to the Objections ...