Aristotle's Art of Poetry. Translated from the Original Greek, According to Mr. Theodore Goulston's Edition. Together, with Mr. D'Acier's Notes Transl Gale ECCO, Print Editions

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Aristotle's Theory of Poetry and Fine Art: With a Critical Text and a . Nobel Press

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This book, "Aristotle's Theory of Poetry and Fine Art: With a Critical Text and a .", by Samuel Henry Butcher, is a replication of a book originally published before 1895. It has been restored by human beings, page by page, so that you may enjoy it in a form as close to the original as possible. This book was created using print-on-demand technology. Thank you for supporting classic literature.

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Aristotle on the Art of Poetry

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Aristotle on the Art of Poetry

Książki

Sklep: KrainaKsiazek.pl

Aristotle on the Art of Poetry

Książki

Sklep: KrainaKsiazek.pl

Aristotle on the Art of Poetry

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Aristotle's "Poetics" University of Chicago Press

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This interpretation of Aristotle's "Poetics" seeks to demonstrate that it is a coherent statement of a challenging theory of poetic art and that it hints towards a theory of mimetic art in general. Assessing this theory against the background of earlier Greek views on poetry and art, particularly Plato's, Stephen Halliwell sets Aristotle's ideas in the wider context of his philosophical system. The core of the book is an appraisal of Aristotle's view of tragic drama, in which Halliwell contends that at the heart of the "Poetics" lies a philosophical urge to instill a secularized understanding of Greek tragedy.

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Aristotle: A Very Short Introduction Oxford University Press

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The influence of Aristotle, the prince of philosophers, on the intellectual history of the West is second to none. In this book Jonathan Barnes examines Aristotle's scientific researches, his discoveries in logic and his metaphysical theories, his work in psychology and in ethics and politics, and his ideas about art and poetry, placing his teachings in their historical context. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

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Classic Writings on Poetry Columbia University Press

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The poet is the sayer, the namer, and represents beauty. He is a sovereign, and stands on the centre. -- Ralph Waldo Emerson, from "The Poet" "[The poet] is a seer...he is individual...he is complete in himself...the others are as good as he, only he sees it and they do not. He is not one of the chorus. " -- Walt Whitman, from the preface to Leaves of Grass Poetry has always given rise to interpretation, judgment, and controversy. Indeed, the history of poetry criticism is as rich and varied a journey as the history of poetry itself. But classic writings such as Emerson's essay "The Poet" and Whitman's preface to Leaves of Grass serve as more than a critical "call and response": the works are striking examples of how the finest poets themselves have written on poetics and the works of their peers and predecessors -- revealing, in the process, much about the theory and passion behind their own works. Spanning thousands of years and including thirty-three of the most influential critical essays ever written, Classic Writings on Poetry is the first major anthology of criticism devoted exclusively to poetry. Beginning with a survey of the history of poetics and providing an introduction and brief biography for each reading, esteemed poet and critic William Harmon takes readers from Plato's Republic and Aristotle's Poetics to the Norse mythology of Snorri Sturluson's Skaldskaparmal. John Dryden's An Essay of Dramatic Poesy and Shelley's A Defence of Poetry are included, as is an excerpt from Elizabeth Barrett Browning's verse novel Aurora Leigh, arriving, finally, at the modernist sensibility of "Poetic Reality and Critical Unreality," by Laura (Riding) Jackson. For anyone interested in the art and artifice of poetry, Classic Writings on Poetry is a journey well worth taking.

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Poetics OUPW

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'What is poetry, how many kinds of it are there, and what are their specific effects?' Aristotle's Poetics is the most influential book on poetry ever written. A founding text of European aesthetics and literary criticism, from it stems much of our modern understanding of the creation and impact of imaginative writing, including poetry, drama, and fiction. For Aristotle, the art of representation conveys universal truths which we can appreciate more easily than the lessons of history or philosophy. In his short treatise Aristotle discusses the origins of poetry and its early development, the nature of tragedy and plot, and offers practical advice to playwrights. This new translation by Anthony Kenny is accompanied by associated material from Plato and a range of responses from more modern literary practitioners: Sir Philip Sidney, P. B. Shelley, and Dorothy L. Sayers. The book includes a wide-ranging introduction and notes, making this the most accessible and attractive modern edition. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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Gay Science Cambridge University Press

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Eneas Sweetland (E. S.) Dallas (1828

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Sprezzatura Columbia University Press

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In this book, the first to consider sprezzatura in its own right, philosopher of art Paolo D'Angelo reconstructs the history of concealing art, from ancient rhetoric to our own times. The word sprezzatura was coined in 1528 by Baldassarre Castiglione in The Book of the Courtier to mean a kind of grace with a special essence: the ability to conceal art. But the idea reaches back to Aristotle and Cicero and forward to avant-garde works such as Duchamp's ready-mades, all of which share the suspicion of the overt display of skill. The precept that art must be hidden turns up in a number of fields, from cosmetics to interior design, politics to poetry, the English garden to shabby chic. Through exploring different articulations of this idea, D'Angelo shows the paradox of aesthetics: art hides that it is art, but in doing so it reveals itself to be art and becomes an assertion about art.

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Philosophical Roots of Anti-capitalism PLYMBRIDGE DISTRIBUTORS

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Alfred Sohn-Rethel located the origin of philosophical abstraction in the "false conciousness" brought about by the new money economy of Greek Antiquity. In the Enlightenment the conceptual barrier Kant put between phenomenal reality and the "thing-in-itself" expressed, in Sohn-Rethel's view, the reified consciousness stemming from commodity-exchange and the division of mental and manual labor. Because Sohn-Rethel saw the entire history of philosophy as branded by a timeless universal logic, he dismissed Hegel's concept of "totality" as "idealist" and Hegel's critique of Kantian dualism as irrelevant to Marx's critique of political economy. David Black, in the title essay of The Philosophical Roots of Anti-Capitalism, suggests, contra Sohn-Rethel, that Marx's exposition of the fetishism of commodities is historically-specific to capitalist production, and therefore cannot explain the origins of philosophy, which Black shows to have involved various historical developments in Greek society and culture as well as monetization. Just as Hegel's critique of Kantian formalism informs Marx's critique of capital, Hegel's writings on how the proper organization of labor might abolish the barrier Aristotle put between production and the "Realm of Freedom" prefigure Marx's efforts to formulate of an alternative to capitalism. Part Two, Critique of the Situationist Dialectic: Art, Class Consciousness and Reification, begins with Surrealism, whose "disappearance" as a revolutionary artistic and social force Guy Debord and the Situationists sought to make up for by superseding the poetry of Art with the poetry of Life. As well highlighting Debord's achievements in both theory and practice, Black points to his philosophical shortcomings and relates these to Debord's later "pessimistic" assessment of the possibility of revolutionary class consciousness within globalizing capitalism. The four essays in Part Three cover the Aristotelian anarchism, the ambivalent legacy of Lukacs' theory of reification, Raya Dunayevskaya's Hegelian-Marxist concept of "absolute negativity" as "revolution in permanance", and Gillian Rose's philosophical challenge to both postmodernism and "traditional" Marxism.

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Philosophical Roots of Anti-Capitalism

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Alfred Sohn-Rethel located the origin of philosophical abstraction in the "false conciousness" brought about by the new money economy of Greek Antiquity. In the Enlightenment the conceptual barrier Kant put between phenomenal reality and the "thing-in-itself" expressed, in Sohn-Rethel's view, the reified consciousness stemming from commodity-exchange and the division of mental and manual labor. Because Sohn-Rethel saw the entire history of philosophy as branded by a timeless universal logic, he dismissed Hegel's concept of "totality" as "idealist" and Hegel's critique of Kantian dualism as irrelevant to Marx's critique of political economy. David Black, in the title essay of The Philosophical Roots of Anti-Capitalism, suggests, contra Sohn-Rethel, that Marx's exposition of the fetishism of commodities is historically-specific to capitalist production, and therefore cannot explain the origins of philosophy, which Black shows to have involved various historical developments in Greek society and culture as well as monetization. Just as Hegel's critique of Kantian formalism informs Marx's critique of capital, Hegel's writings on how the proper organization of labor might abolish the barrier Aristotle put between production and the "Realm of Freedom" prefigure Marx's efforts to formulate of an alternative to capitalism. Part Two, Critique of the Situationist Dialectic: Art, Class Consciousness and Reification, begins with Surrealism, whose "disappearance" as a revolutionary artistic and social force Guy Debord and the Situationists sought to make up for by superseding the poetry of Art with the poetry of Life. As well highlighting Debord's achievements in both theory and practice, Black points to his philosophical shortcomings and relates these to Debord's later "pessimistic" assessment of the possibility of revolutionary class consciousness within globalizing capitalism. The four essays in Part Three cover the Aristotelian anarchism, the ambivalent legacy of Lukacs' theory of reification, Raya Dunayevskaya's Hegelian-Marxist concept of "absolute negativity" as "revolution in permanance", and Gillian Rose's philosophical challenge to both postmodernism and "traditional" Marxism.

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Classical Literary Criticism Penguin Books

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The works collected in this volume have profoundly shaped the history of criticism in the Western world: they created much of the terminology still in use today and formulated enduring questions about the nature and function of literature. In "Ion", Plato examines the god-like power of poets to evoke feelings such as pleasure or fear, yet he went on to attack this manipulation of emotions and banished poets from his ideal Republic. Aristotle defends the value of art in his "Poetics", and his analysis of tragedy has influenced generations of critics from the Renaissance onwards. In the "Art of Poetry", Horace promotes a style of poetic craftsmanship rooted in wisdom, ethical insight and decorum, while Longinus' "On the Sublime" explores the nature of inspiration in poetry and prose.

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