Cargando…
Tragic pathos : pity and fear in Greek philosophy and tragedy /
"Scholars have often focused on understanding Aristotle's poetic theory, and particularly the concept of catharsis in the Poetics, as a response to Plato's critique of pity in the Republic. However, this book shows that, while Greek thinkers all acknowledge pity and some form of fear...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Cambridge ; New York :
Cambridge University Press,
2012.
|
| Colección: | Cambridge books online.
|
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; TRAGIC PATHOS; Title; Copyright; Dedication; Contents; Preface and acknowledgments; List of abbreviations; Introduction; PREMISE AND PURPOSE; EMOTION: EMOTION AS RESPONSE TO TRAGEDY, TO ART(S); SOME SPECIFICATIONS: AESTHETIC EMOTIONS
- POLITICAL ANDETHICAL IMPLICATIONS; EMOTION AND THE LANGUAGE-GAME:CULTURAL UNITY AND VARIETY; A BRIEF REVIEW OF SCHOLARSHIP: PROBLEMS; Pity; FEAR. THE "ONTOLOGICAL" PROBLEM OF DRAMATIC FEAR; MORAL PROBLEMS OF ORDINARY FEAR: THEIR CONSEQUENCESFOR AESTHETIC FEAR; THE TWO AS PAIR; NOTES ON TERMINOLOGY: AESTHETIC OR MIMETIC? THE TERMSFOR PITY AND FEAR(S).
- Methodology and structureA synopsis; PART I Theoretical views about pity and fear as aesthetic emotions; CHAPTER 1 Drama and the emotions: an Indo-European connection?; CHAPTER 2 Gorgias: a strange trio, the poetic emotions; 2.1 CONTEXT (A): PITY AND HATRED, GUIDED REACTIONSFOR GORGIAS' AUDIENCE (HEL. 7); 2.2 CONTEXT (B): SPEECH CAN STOP FEAR ANDINCREASE PITY (HEL. 8); 2.3 CONTEXT (C): POETRY AROUSES PITY, FEARFUL SHIVER, AND LONGING (HEL. 9); 2.4 CONTEXT (D): INCANTATIONS MAY BRING PLEASUREAND BANISH PAIN (HEL. 10); 2.5 CONTEXT (E): WORDS, LIKE MEDICINE, CAN INSPIRE FEAROR COURAGE (HEL. 14).
- 2.6 CONTEXT (F): FEAR AND IMAGINATION (HEL. 16 17); 2.7 IF THE SPECTATOR ACCEPTS THE "DECEPTION" OF TRAGEDY, ARE HIS EMOTIONS AUTHENTIC?; CHAPTER 3 Plato: from reality to tragedy and back; 3.1 THE PROBLEM WITH ORDINARY "FEAR" AND AESTHETIC FEAR; 3.2 AESTHETIC EMOTIONS: IMPURE PLEASURES, "FALSE" KNOWLEDGE; 3.3 PHILOSOPHICAL DRAMA AND THE TRANSFORMEDTRAGIC EMOTIONS; CHAPTER 4 Aristotle: the first "theorist" of the aesthetic emotions; 4.1 PITY AND FEAR AS RESPONSES OF THE AUDIENCEIN THE POETICS: AN IMPASSE; 4.2 PITY AND FEAR AS RESPONSES OF THE AUDIENCE:RHETORIC AND DRAMA.
- 4.3 AESTHETIC PITY: CREATING A VISION OFSUFFERING THROUGH SPEECH4.3.1 Seeing emotion: visual versus vision; 4.3.2 Conclusions on Pity. Fear. Transfer of emotion through Phantasia; 4.4 PROPER PLEASURE (OIKEIA HEDONE) FROM EMOTIONS; 4.4.1 Proper pleasure as a species of mimesis; 4.4.2 Proper pleasure supervening the "activity" of tragedy; 4.4.3 Painful emotions in pleasure: Oikeia hedone and the pleasures of memory and mourning; 4.5 PREDECESSORS AND SUCCESSORS. TIMOCLES. HOW ORIGINAL IS ARISTOTLE?; 4.6 GENERAL CONCLUSIONS; PART II Pity and fear within tragedies; CHAPTER 5 An introduction.
- 5.1 PURPOSE OF SURVEY5.2 PITY AND FEAR AS EXPRESSIONS OF INTERNAL AUDIENCES ANDTHE PHILOSOPHICAL VIEWS (GORGIAS, PLATO, ARISTOTLE):A DIFFERENT EMPHASIS; 5.3 RELATIONSHIP BETWEEN PITY AND FEAR AS EXPRESSIONSOF INTERNAL AUDIENCES AND EXTERNAL (CONTEMPORARYATHENIAN) AUDIENCES; 5.3.1 Internal audiences as models for external audiences; 5.3.2 Linking internal audiences and external audiences: problems surrounding pity and fear; CHAPTER 6 Aeschylus: Persians; 6.1 A REVIEW OF INTERPRETATIONS; 6.2 PATRIOTIC PRIDE AND ITS COMPATIBILITY WITH TRAGIC PITY.