ARISTOTLE Introduction PLATO The forms patterns or ideals

ARISTOTLE: Introduction PLATO: The forms [patterns or ideals] are not in this world and can only be known through a process of education n Images make up the lowest category of “objects of knowledge” – art is only “imitation” ARISTOTLE: The “forms” [or patterns] that enable us to understand objects don’t exist apart from particular objects. n The emphasis is on experience as a source of knowledge n Thus art, as a way of expressing human experience, has a higher place in Aristotle’s categories.

Aristotle’s Classification of Knowledge & Human Activities His starting point: Every activity has its proper end at which it aims. Theoretical Sciences n includes Metaphysics, Physics and Mathematics Productive /Practical Sciences -- are those where reason serves human beings. n Productive Sciences: These involve "knowhow" and include many “crafts”, including art. n Practical Science or ETHICS: Humans as AGENTS rather than producers.

Aristotle: Poetics In the Poetics Aristotle presents his definition of the genre, including his theory of “catharsis” Intro to Greek tragedy: n Everyone knew the stories, n The plays were performed by men wearing masks. n The plays told particular stories with a universal application. [the masks helped to universalize the particular. ]

Aristotle: Definition of a Tragedy A tragedy, then is the imitation of an action that is serious, and also, as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear; wherewith to accomplish its catharsis of such emotions. . n [Here by "language with pleasurable accessories" I mean that with rhythm and harmony or song superadded; and by "the kinds separately" I mean that some portions are worked out in verse only, and others in turn with song. ]

The 6 Components of a Tragedy Categorized in terms of “means” [2], manner [1] and its “objects of dramatic imitation” [3] 1. PLOT [objects of dramatic imitation] 2. CHARACTERS [objects of dramatic imitation] 3. DICTION [means] 4. THOUGHT [objects of dramatic imitation] 5. MELODY [means] 6. SPECTACLE [manner]

ARTISTOTLE: Poetics n Modes of Imitation differ in 3 ways: n n medium, object, structure [manner] MEDIUM: rhythm, language, harmony OBJECT: Men in action are objects of imitation MANNER: narration/action

ARTISTOTLE: The Text Part IV: The Causes of Poetry n Imitation: n n We learn through imitation & take pleasure in it. Humans have an instinct for harmony/rhythm

Structure of a tragedy Part IX: Aristotle is defining “aesthetic quality” n TRAGEDY is the “Imitation of an action that is complete, whole and of a certain magnitude. ” n unity of plot n express the universal [history expresses the particular] n events inspiring fear and pity n reversal of the situation through recognition [of persons]

Plot/Characters/Thought PLOT is the most important: tragedy is an imitation of action and life n “Character gives us our qualities, but it is by our actions that we are happy or the reverse. ” CHARACTERS are the second: n Representations of an action: the agents have two causes of their actions: thought and character. n The comparison with painting: beautiful colors without order do not give the same pleasure as a simple black & white sketch or a portrait. n THOUGHT is 3 rd: n “the power of saying whatever can be said. ”

Discussion of the PLOT I The plot must be an “imitation of an action that is complete in itself, as a WHOLE of some magnitude” n Unity of Plot: The plot must represent an action and form a complete whole with a beginning, middle and end n n “Removal of one incident will destroy it, for that which makes no perceptible difference by its presence or absence is no real part of the whole. "

Discussion of the PLOT II The PLOT "must make a universal statement n Aristotle believed poetry was more important than history because poetry states universals. n The playwright should include incidents arousing pity and fear [see catharsis above in slide #4] n That are both unexpected and "in consequence" of one another.

ARTISTOTLE: The Text n n n Part XIII: The change of fortune. n Through error or frailty rather than vice or depravity. Part XIV: Fear & Pity n Best done through structure of the pieces rather than spectacle. n What kind of circumstances? Part XV: Character n Good character; propriety; true to life; consistency

Questions for Discussion What criteria do you think Aristotle is proposing for art in general? n What effect does he think art has on us? n How can you apply Aristotle to contemporary art/theatre? n How does he differ from Plato? How is he similar? n How might his view be applied to representing the holocaust? n