2015.12.16 - Week 14

A. Vocabularies to Know
1) on strike: to refuse to continue working because of an argument with an employer about working conditions, pay levels or job losses
2) abuse (verbal, physical): to use or treat someone or something wrongly or badly, especially in a way that is to your own advantage
3) abstinence: not doing something, such as drinking alcohol or having sex
4) evolution: the way in which living things change and develop over millions of years
5) POV: point of view
6) omniscient: having or seeming to have unlimited knowledge; knowing
B. Poetics (Aristotle)
Aristotle's Poetics is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory.
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry and epic poetry). They are similar in the fact that they are all imitations but different in the three ways that Aristotle describes:
Differences in music rhythm, harmony, meter and melody.
Difference of goodness in the characters.
Difference in how the narrative is presented: telling a story or acting it out.
In examining its "first principles", Aristotle finds two:
1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion. Although Aristotle's Poetics is universally acknowledged in the Western critical tradition, "almost every detail about his seminal work has aroused divergent opinions".
The work was lost to the Western world for a long time. It was available in the Middle Ages and early Renaissance only through a Latin translation of an Arabic version written by Averroes.
C. Socrates

Socrates was a classical Greek (Athenian) philosopher credited as one of the founders of Western philosophy. He is an enigmatic figure known chiefly through the accounts of classical writers, especially the writings of his students Plato and Xenophon and the plays of his contemporary Aristophanes. Plato's dialogues are among the most comprehensive accounts of Socrates to survive from antiquity, though it is unclear the degree to which Socrates himself is "hidden behind his 'best disciple', Plato".
Through his portrayal in Plato's dialogues, Socrates has become renowned for his contribution to the field of ethics, and it is this Platonic Socrates who lends his name to the concepts of Socratic irony and the Socratic method, or elenchus. The latter remains a commonly used tool in a wide range of discussions, and is a type of pedagogy in which a series of questions is asked not only to draw individual answers, but also to encourage fundamental insight into the issue at hand. Plato's Socrates also made important and lasting contributions to the field of epistemology, and his ideologies and approach have proven a strong foundation for much Western philosophy that has followed.
D. Catharsis

Catharsis is the purification and purgation of emotions—especially pity and fear—through art or any extreme change in emotion that results in renewal and restoration. It is a metaphor originally used by Aristotle in the Poetics, comparing the effects of tragedy on the mind of spectator to the effect of a cathartic on the body.













E. Mimesis
Mimesis , from μιμεῖσθαι (mīmeisthai), "to imitate," from μῖμος (mimos), "imitator, actor") is a critical and philosophical term that carries a wide range of meanings, which include imitation, representation, mimicry, imitatio, receptivity, nonsensuous similarity, the act of resembling, the act of expression, and the presentation of the self.
In ancient Greece, mimesis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative. After Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society, and its use has changed and been reinterpreted many times since then.
One of the best-known modern studies of mimesis, understood as a form of realism in literature, is Erich Auerbach's Mimesis: The Representation of Reality in Western Literature, which opens with a famous comparison between the way the world is represented in Homer's Odyssey and the way it appears in the Bible. From these two seminal Western texts, Auerbach builds the foundation for a unified theory of representation that spans the entire history of Western literature, including the Modernist novels being written at the time Auerbach began his study. In art history, "mimesis", "realism" and "naturalism" are used, often interchangeably, as terms for the accurate, even "illusionistic", representation of the visual appearance of things.
The Frankfurt school critical theorist T. W. Adorno made use of mimesis as a central philosophical term, interpreting it as a way in which works of art embodied a form of reason that was non-repressive and non-violent.
Mimesis has been theorised by thinkers as diverse as Plato, Aristotle, Philip Sidney, Samuel Taylor Coleridge, Adam Smith, Sigmund Freud, Walter Benjamin, Paul Ross, Theodor Adorno, Erich Auerbach, Luce Irigaray, Jacques Derrida, René Girard, Nikolas Kompridis, Philippe Lacoue-Labarthe, Michael Taussig, Merlin Donald, and Homi Bhabha.
F. Hamartia in Aristotle's poetics

The term hamartia derives from the Greek ἁμαρτία, from ἁμαρτάνειν hamartánein, which means “to miss the mark” or “to err”. It is most often associated with Greek tragedy, although it is also used in Christian theology. Hamartia as it pertains to dramatic literature was first used by Aristotle in his Poetics. In tragedy, hamartia is commonly understood to refer to the protagonist’s error or flaw that leads to a chain of plot actions culminating in a reversal from their good fortune to bad. What qualifies as the error or flaw can include an error resulting from ignorance, an error of judgement, a flaw in character, or sin. The spectrum of meanings has invited debate among critics and scholars, and different interpretations among dramatists