Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for tragic (...) plot patterns; catharsis ; epic and comedy; the nature of our emotional response to drama; the proper pleasure of tragedy; and the role that art plays in a human life the relevance of Aristotle’s work in metaphysics, epistemology, ethics and philosophical psychology to the Poetics a comparison of Plato and Aristotle on the value of mimetic art the continuing importance of Aristotle’s Poetics to contemporary philosophy, aesthetics, and philosophy of film. (shrink)

This essay offers an interpretation of Aristotle’s account of the birth of tragedy (Poetics 1448b18–1449a15) as a mimesis of poetic praxis. The workings of this passage emerge when read in connection with ring composition in Homeric speeches, and further unfold through a comparison with the Shield of Achilles and with an ode from Euripides’ Heracles. Aristotle appears to draw upon a traditional pattern enacting cyclical rebirth or revitalization. It is suggested that his puzzling insistence on “one complete action” in (...) plot is bound up with moment-to-moment performance. The poetics of Aristotle’s account suggest a pedagogy of mimesis. (shrink)

This paper aims at interpreting (primarily) the first six chapters of Aristotle’s Poetics in a way that dissolves many of the scholarly arguments conceming them. It shows that Aristotle frequently identifies the object of his inquiry by opposing it to what is other than it (in several different ways). As a result aporiai arise where there is only supposed to be illuminating exclusion of one sort or another. Two exemplary cases of this in chapters 1-6 are Aristotle’s account of (...) class='Hi'>mimesis as other than enunciative speech (speech that makes truth claims, or representation) and his account of the final cause of tragedy in itself as plot, vis a vis its final cause as regards the audience, which is katharsis. Confusions arising from failure to see the otherness of representation and katharsis leads to an overly intellectualist understanding of the purpose of tragedy. (shrink)

Aristotle’s claim that poetry is ‘a more philosophic and better thing’ than history (Poet 9.1451b5-6) and his description of the ‘poetic universal’ have been the source of much scholarly discussion. Although many scholars have mined Poetics 9 as a source for Aristotle’s views towards history, in my contribution I caution against doing so. Critics of Aristotle’s remarks have often failed to appreciate the expository principle which governs Poetics 6-12, which begins with a definition of tragedy and then elucidates the terms (...) of that definition by means of a series of juxtapositions. The juxtaposition between poetry and history is one such instance which seeks to elucidate what sort of plot exemplifies a causal unity such that the events of a play unfold with likelihood or necessity. Within that context, Aristotle compares history and poetry in order to elucidate the object of poetic mimesis rather than criticize history as a discipline. Viewing Aristotle as antagonistic towards history fails to appreciate the expository structure of the Poetics and obscures the resource which history provides to the poet, a point which I explore by considering what Aristotle would have thought of an ‘historical’ tragedy like Aeschylus’ Persians. (shrink)

This paper concerns the theory of triple mimesis formulated by the contemporary French philosopher, Paul Ricoeur, in his three-volume book Time and Narrative. It is a hermeneutical interpretation of the classical Aristotle’s definition of mimesis from his Poetics. Ricoeur’s argument is aimed at proving, that the way an imitative transformation of the reality in narrative operates, presupposes a circular relation between living experience and a narrative, which mutually determine each other. The main aim of this paper is to (...) answer the question, how the communication between an author, a work and a reader should be viewed in the context of triple mimesis and what factors determine understanding of a mimetic work of art. (shrink)

I try to read Aristotle's Poetics and Rhetoric as if they were an integral part of the Organon instead of separate works as they were sorted by Andronicus of Rhodes. The results are quite surprising. First, poetics and rhetoric, considered as sciences of speech, were much more intimately related to Aristotle's analytical logic than it is generally acknowledged by prominent interpreters. I maintain that Dialectics (the Topics) operated as a bridge leading from these two sciences to analytical logic; that the (...) types of speech encompassed by the four respective sciences did not only form a ladder, ascending from the more loose forms of persuasion to the more rigorous ones, but that there was between them a whole net of cross-currents and implications that were too much obvious for Aristotle to remain unaware of them, notwithstanding the fact that he doesn’t describe them anywhere. I maintain, in short, there was an unified science of persuasive speech, whose principles were implicitly intertwined in the fabric of Aristotle's Organon. By means of a comparative study of the works consecrated by Aristotle to poetics, rhetoric, dialectics and analytics, these principles could be unearthed and accurately expressed. I called them the theory of the four discourses. (shrink)

ABSTRACT: Hall (1996) raises the question of the relationship between Aristotle’s Politics and Poetics by claiming that Aristotle had separated drama from its civic origins; various rejoinders to her challenge can be found in Heath (2009) and Jones (2012). In response to this question, I argue that a central connection between these two works is their shared concern about the effects of performance—both in the case of drama and music—either for performers or their audience. Aristotle’s criticisms of “spectacle” (opsis) in (...) tragedy—a problem taken up most recently in Bouchard (2012), Hanink (2011), Konstan (2013), Sifakis (2013), and Wise (2008)—thus parallel his criticisms of slavishness in musical performance in Politics 8. Thus, the problem of Aristotle’s silence about tragedy in his account of education in Politics 8—a problem taken up by Lord (1982) and more recently Ford (2004)—is explainable on the basis of an explicit and central doctrine from the Poetics, namely that a drama can produce the function of tragedy independent of public performance. On my reading, Aristotle’s Politics and Poetics together retain tragedy as a central “cultural” institution for the liberally educated citizen, a view completely consistent with everything Aristotle defends about tragedy in the Poetics. But Politics 8 displaces tragedy as the pre-eminent form of public education and in its place supplies instrumental music—no doubt much to the consternation of Athenian democrats both historically and their kindred spirits in contemporary drama and classics departments. My paper concludes by articulating and speculating about why music eclipses tragedy as the pre-eminent form of liberal arts education in Aristotle’s best regime. (shrink)

Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of entertainment (...) that defines literary conventions by the pleasurable feelings they release in the brain, and then equates them with outside experiences that people subconsciously attach to the literary work, in the same way that we can be conditioned to feel love when we view our wedding rings, can actually resolve almost every seeming contradiction in Aristotle's ideas and traditional theories of storytelling when compared to real-world results. -/- Furthermore, this approach can be extended to the other major forms of art, including painting, music and even video games, leading to a "Non-Aristotelian" theory that modifies the fundamental aspects of each of these fields, but in a natural and necessary way, which strengthens both our understanding and our ability to predict the success or failure of art in the future. -/- My work as a vlogger and writer, mostly done via my Youtube channel "StoryBrain," has been viewed over 6 million times, and written about in MovieMaker magazine, Creative Screenwriting magazine, on the front page of major sites like Reddit, Roger Ebert online, and in international newspapers like the Sydney Morning-Herald in Australia and Fotogramas in Spain. My work is also the subject of a chapter of the currently-in-release book "Neuro-Design," by Kogan Page publishing, called "The Neuro Movie Analyst." This paper is a detailed introduction to the theory of Emotional Indiscretion which I have talked about in my work. (shrink)

In Poetics 13, Aristotle claims that the protagonist in the most beautiful tragedies comes to ruin through some kind of ‘failure’—in Greek, hamartia. There has been notorious disagreement among scholars about the moral responsibility involved in hamartia. This article defends the old reading of hamartia as a character flaw, but with an important modification: rather than explaining the hero's weakness as general weakness of will (akrasia), it argues that the tragic hero is blinded by temper (thumos) or by a pursuit (...) for fine, good and desirable things—that is, by what may be labelled ‘qualified’ weakness of will. The upshot is that hamartia ends up as being less blameworthy than ‘proper’ akrasia, but still explains why morally outstanding people are unsuitable for the most beautiful tragedies. (shrink)

Mimesis and the portrayal of reflective life in action : Aristotle's Poetics and Sophocles' Oedipus the King -- The portrayal of reflective life in action in poetry : Shakespeare's dramatization of the poet in Sonnets 1-126 -- The portrayal of reflective life in action in music : Bach's Prelude and Fugue in B flat minor (The Well-Tempered Clavier, Book 1) and Beethoven's String Quartet in A minor, opus 132 -- The portrayal of reflective life in action in painting : (...) discovery of the inner life of sensory perception in watercolours by Turner and oil paintings by Cézanne. (shrink)

Mimesis can refer to imitation, emulation, representation, or reenactment - and it is a concept that links together many aspects of ancient Greek Culture. The Western Greek bell-krater on the cover, for example, is painted with a scene from a phlyax play with performers imitating mythical characters drawn from poetry, which also represent collective cultural beliefs and practices. One figure is shown playing a flute, the music from which might imitate nature, or represent deeper truths of the cosmos based (...) upon Pythagorean views (which were widespread in Western Greece at the time). The idea that mimesis should be restricted to ideals was made famous by Plato (whose connections to Pythagoreanism and Siracusa are well-known), and famously challenged by his student Aristotle (not to mention by the mimetic character of Plato’s own poetry). This volume gathers essays not only on the philosophical debate about mimesis, but also on its use in architecture, drama, poetry, history, music, ritual, and visual art. The emphasis is on examples from Hellenic cities in Southern Italy and Sicily, but the insights apply far beyond – even to modern times. Contributors include: Thomas Noble Howe, Francisco J. Gonzalez, Gene Fendt, Guilherme Domingues da Motta, Jeremy DeLong, Carolina Araújo, Marie-Élise Zovko, Lidia Palumbo, Sean Driscoll, Konstantinos Gkaleas, Anna Motta, Jure Zovko, Alexander H. Zistakis, Christos C. Evangeliou, Dorota Tymura, Iris Sulimani, Elliott Domagola, Jonah Radding, Giulia Corrente, Laura Tisi, Ewa Osek, Argyri G. Karanasiou, Rocío Manuela Cuadra Rubio, Jorge Tomás García, Aura Piccioni, and José Miguel Puebla Morón. (shrink)

Review of Pierre Destrée, Aristote: Poétique.

ABSTRACT This essay deals with the relation between representation, imitation, and the affects in Don Quixote. In so doing, it focuses on Cervantes’s Platonist poetics and his own views of imitation and the books of knighthood. Although most readers, translators, and critics have until now deemed Cervantes’s use of the word “republic” in Don Quixote unimportant, the word “república” or republic is in fact the entry point to Cervantes’ Platonist critique of the novels of knighthood, and his notions of writing, (...) imitation, and the emotions. (shrink)

There are at least two discussions about Pythagoreans in Aristotle’s works that can be related to paradigm, both in Book A of Metaphysics. In the first, Aristotle says that for Pythagoreans all the things are modeled after numbers (τὰ μὲν ἄλλα τοῖς ἀριθμοῖς ἐφαίνετο τὴν φύσιν ἀφωμοιῶσθαι πᾶσιν). (Met., A, 985b32-33) In the second, Aristotle tells us that Pythagoreans take ‘the first subject of which a given term would be predicable (ᾧ πρώτῳ ὑπάρξειεν ὁ λεχθεὶς ὃρος)’ as the substance of (...) the thing. His example is double and two: since two is the first thing of which double is predicated, double will be the substance of two. (Met., A, 987a22-25) 1) Forms as paradigms Some of the critiques of platonic Forms in Aristotle’s works are paradigm-oriented: they attack Plato’s theory on the basis that Platonians considered Forms as paradigms. The core of all Aristotle’s objections is that calling Forms paradigms is a mere poetical strategy and does not have any real effect. (Met., 991a20-22; M, 1079b24-26) We can recognize four reasons for Aristotle’s objections of forms as paradigms: a) To consider something as the paradigm of another thing to which it is like does not have any ontological effect: ‘For what it is that works, looking to the ideas? Anything can either be, or become, like another without being copied from it, so that whether Socrates exists or not a man might come to be like Socrates.’ (Met., A, 991a22-26; M, 1079b26-29) Therefore, paradigms are ontologically unnecessary: ‘It is quite unnecessary to set up a form as a paradigm … the begetter is adequate to the making of the product and the causing of the form in the matter.’ (Met., Z, 1034a2-5) Don’t these cases imply that Aristotle did have more the ontological necessity of paradigm in thought instead of its epistemological necessity? b) To consider Forms as paradigms means that a thing must have several paradigms; e.g. animal and too-footed and man will be paradigms of the same thing. (Met., A, 991a27-29; M, 1079b31-33) c) The theory that Forms are paradigms not only of sensible things but also of themselves makes the same thing both a paradigm and a copy (ἐικών). (Met., A, 991a29-b1; M, 1079b33-35) 2) Reasoning by paradigm Aristotle compares the arguments using paradigms to his own theory of syllogism: ‘We have an ‘example’ (παράδειγμα) when the major term is proved to belong to the middle by means of a term which resembles the third. It ought to be known that the middle belongs to the third term, and that the first belongs to that which resembles the third. For example, let A be evil, B making war against neighbors, C Athenians against Thebians, D Thebians against Phocians. If then we wish to prove that to fight against Thebians is an evil, we must assume that to fight against neighbors is an evil. Evidence of this is obtained from similar cases, e.g. that the war against the Phocians was an evil to Thebians. …Now it is clear that B belongs to C and to D (for both are cases of making war upon one’s neighbors) and that A belongs to D (for the war against the Phocians did not turn out well for the Thebians); but that A belongs to B will be proved through D.’ (PsA., B, 24, 66b38-69a11) An ‘example’ can also be made by several similar cases. (PrA., B, 24, 69a11-13) Aristotle notes (PrA., B, 24, 69a13-24) that reasoning by paradigm is ‘neither like reasoning from part to whole nor like reasoning from whole to part but is rather a reasoning from part to part, when both particulars are subordinate to the same term, and one of them is known.’ And it differs from induction in two ways: a) While induction uses all the particular cases to prove that the major term belongs to the middle, reasoning by paradigm does not draw its proof from all the particular cases. b) While induction does not apply the syllogistic conclusion to the minor term, reasoning by paradigm does make this application. (PrA., B, 24, 69a13-24) . (shrink)

Plato’s most infamous discussions of poetry in the Republic, in which he both develops original distinctions in narratology and advocates some form of censorship, raises numerous philosophical and philological questions. Foremost among them, perhaps, is the puzzle of why he returns to poetry in Book X after having dealt with it thoroughly in Books II–III, particularly because his accounts of the “mimetic” aspect of poetry are, on their face, quite different. How are we to understand this double treatment? Here I (...) will focus on a single aspect of this question, the compatibility of the notion of μίμησις and its cognates in the two books. As Nickolas Pappas has said, “Whether Books 3 and 10 offer compatible accounts of mimêsis, and how one might make them compatible, remains the most controversial question about Plato’s aesthetics”.2 I will show that there is a single notion of μίμησις operative throughout, namely that of representation by resemblance. I will take an unusual tack. I will not begin with the most problematic part of Book III for this interpretation about poetic, linguistic μίμησις, but with the later sections on musical μίμησις. Once we have an account of this, I claim, it is easier to see how narrative μίμησις is also a kind of representation by resemblance. (shrink)

We are political creatures, and we all need others who care about the development of our character and who offer guidance and advice; “if this were not so, we there would be no need for an instructor” (N. Ethics, 1003b12-3). We imitate those who have already successfully developed courage or moderation, acting as if we were brave or moderate, struggling at first, but slowly training ourselves...but, if “acting-as-if” and imitation are the keys to developing virtue, then surely the Poetics will (...) provide a clue to Bk. II of the Ethics, and in a way that may add to our understanding of how ethics and aesthetics are connected. (shrink)

In anticipation of updating annotated bibliographies on Aristotle’s Ethics and Politics for Oxford Bibliography Online, I have sought to keep a running tabulation of all books, edited collections, translations, and journal articles which are primarily devoted to Aristotle’s ethical and political writings (including their historical reception but excluding neo–Aristotelian virtue ethics). In general, criteria for inclusion in this bibliography are that the work be: (1) publication in a peer–reviewed or academic/university press between 2011–2020; (2) “substantially” devoted to one of Aristotle’s (...) ethical or political works (e.g., Pol, EN, EE, MM, Athenian Constitution, Protrepticus); and/or (3) devoted to ethical or political concepts examined elsewhere in Aristotle’s corpus (e.g., Rhetoric, Poetics, zoological treatises, etc.). I encourage scholars to alert me about published works that I have omitted or listed incorrectly. (shrink)

I have sought to keep a running tabulation of all books, edited collections, translations, and journal articles which are primarily devoted to Aristotle’s ethical and political writings (including their historical reception but excluding neo-Aristotelian virtue ethics). Criteria for inclusion in this bibliography are: (1) published after January 1, 2021 (including pre-publication articles assigned a DOI); (2) devoted to one of Aristotle’s ethical or political works (e.g., Pol, EN, EE, MM, Athenian Constitution, Protrepticus); and/or (3) devoted to ethical or political concepts (...) examined elsewhere in Aristotle’s corpus (e.g., Rhetoric, Poetics, zoological treatises, etc.). I encourage scholars to alert me about published works that I have omitted or listed incorrectly. (shrink)

This study investigates Phillipe Lacoue-Labarthe's claim in "The Caesura of the Speculative" that Hölderlin is a "modern" writer. Its aim is to establish what is at stake in this claim and to evaluate whether it can be substantiated. In Chapter One I discuss the relationship between tragedy and philosophy. I show that the uneasy relationship between philosophy and the arts is premised upon Plato's understanding and judgement of mimesis. I contrast Plato and Aristotle's treatment of poetry by examining how (...) they understand the mimetic process. In Chapter Two I focus on Hölderlin's understanding of the relationship between Ancient Greece and 18th Century Germany. After discussing the background to Hölderlin's work I provide detailed readings of two texts, The Perspective from which We Have to Look at Antiquity, (1799) and the first letter to Böhlendorff, dating from 1801. I argue that in these texts Hölderlin, through his acknowledgement of the divided nature of Greek culture, offers a unique understanding of the relationship between Greece and Germany which isolates him from his contemporaries. In Chapters Three and Four, I examine Hölderlin's understanding of tragedy. After establishing the centrality of the aesthetic presentation for Hölderlin's project I examine the "poetological" writings which date from 1798-1800. I give a close analysis of the implications of Hölderlin's statement that the tragic "is the metaphor of an intellectual intuition" which occurs in the text On the Difference of the Poetic Modes, (1800), showing why the tragic form is central to Hölderlin's poetological project. To illustrate the problems inherent in this project, in Chapter Four I examine Hölderlin's attempts to write a tragic drama which corresponds to his theoretical beliefs. I discuss the two theoretical texts - The Ground to Empedocles and Becoming in Dissolution - which accompany Hölderlin's drama Empedocles. In analysing these texts I argue that there is an inherent tension between the presuppositions of the theory and the way they can be realised in the drama. In Chapter Five, I turn to Hölderlin's final work, his project to translate Sophocles' tragedies. Through close analysis of the theoretical Remarks which accompany the translations, I show how Hölderlin's theoretical and poetological interests in Greece and Tragedy are brought together through this project. I argue that these texts give an insight into the problems which confront Hölderlin's poetological project. However, simultaneously, these texts provide an alternative way of understanding the function of the tragic form. In this discussion I show how the questions concerning the status of dramatic mimesis and the "mimetic" relation between Greece and Germany coincide in the analysis of Sophocles' dramas. In conclusion I return briefly to the questions that I raised in the introduction concerning the status of tragedy in the present time, and assess the accuracy of the claim that Hölderlin is a "modern" thinker. (shrink)

In this book chapter I argue that an examination of Aristotle's writings on metaphor (The Poetics and The Rhetoric) reveals that, far from believing that metaphor is an ornamental extra in language, and that one had to be a genius in order to use a metaphor properly, Aristotle believes that metaphor is ubiquitous in conversation and writing. He believes that people learn and understand things better through metaphors. He distinguishes between the coinage of a metaphor and the usage of a (...) metaphor, which allows him to claim both that metaphors are ubiquitous and that talent is required for the creation of new metaphors. Finally, he was first philosopher to argue for an entirely natural origin of literary talent. (shrink)

This study of Greek time before Aristotle’s philosophy starts with a commentary on his first text, the Protrepticus. We shall see two distinct forms of time emerge: one initiatory, circular and Platonic in inspiration, the other its diametrical opposite, advanced by Aristotle. We shall explore this dichotomy through a return to poetic conceptions. The Tragedians will give us an initial outline of the notion of time in the Greek world (Fate); we shall then turn to Homer in order to better (...) grasp the complex relations between time and the religious sphere (the Hero); the work of the great theologian Hesiod will confirm this initiatory vision, later set out in remarkable fashion by Nietzsche (Myths); we shall then dive deep into Pythagoreanism to complete our account (Mysteries). Having understood this current of thought, powerfully influenced by the Iranian theogony, we shall be able to discern its clear differences from the so-called “Ionian” current, and thus to move away from Plato (Ideology). Lastly, we shall return to the early Ionian thinkers Thales and Anaximander to analyse whether this really was the vision of the world that Aristotle adopted in developing the first model of time (Science). In the second volume we shall see the return of the thought of the theologoi within the Aristotelian corpus itself, and will question our distinction between the being and existence of time. Régis Laurent is a philosopher and member of the association Kairos Kai logos (Centre for the study of ancient philosophy). This book is the first part of his doctoral thesis in philosophy, undertaken under the aegis of three French universities (Grenoble, Clermont-Ferrand and Rennes). In addition to his philosophical training, the author is also qualified to Masters level in linguistics and in general psychology, and studied theology at the Thomist University in Paris (ULSH) and at the CEJ of the EHESS. (shrink)

A new translation and edition of Aristotle's Protrepticus (with critical comments on the fragments) -/- Welcome -/- The Protrepticus was an early work of Aristotle, written while he was still a member of Plato's Academy, but it soon became one of the most famous works in the whole history of philosophy. Unfortunately it was not directly copied in the middle ages and so did not survive in its own manuscript tradition. But substantial fragments of it have been preserved in several (...) works by Iamblichus of Chalcis, a third century A.D. neo-Pythagorean philosopher and educator. On the basis of a close study of Iamblichus' extensive use and excerption of Aristotle's Protrepticus, it is possible to reconstruct the backbone of the lost work, and then to flesh it out with the other surviving reports about the work from antiquity (for example in Alexander of Aphrodisias and other ancient commentators on Aristotle). It is also possible to identify several papyrus fragments of the work, and many references and literary allusions in later authors, especially Cicero, whose own lost dialogue Hortensius was a defense of philosophy modeleld on Aristotle's. (shrink)

In the article, I prove that the dialogical ritual obscene songs, in which Sappho “scolds” Gorgo and Andromeda, are the closest parallel to Aristotle's poetic dialogue of Sappho with Alcaeus, 70, 145, 99 etc. Campbell; cf. Max Tyr., 18. 9 Hobein). Also I prove that this poetic dialogue was most likely included in the text of the “Rhetoric” in mid-340s., when Aristotle and his young wife Pythias were living in Mytilene. Aristotelian verb tetimekasin indicates that, even in his time, these (...) Sapphic dialogical songs had traditionally been performed in Mytilene during religious festivals. It becomes clear that Aristotle, while quoting this dialogue of Sappho with Alcaeus, seeks to “elevate” Sappho over the obscene songs of the Mytilenean ritual chorus, leaving all the responsibility for aischrologia entirely with Alcaeus. (shrink)

Aristotle’s Poetics defends the value of tragic poetry, presumably to counter Plato’s critique in the Republic. Can this defense resonate with something larger and rather surprising, that Aristotle’s overall philosophy displays a tragic character? I define the tragic as pertaining to indigenous and inescapable limits on life, knowledge, control, achievement, and agency. I explore how such limits figure in Aristotle’s physics, metaphysics, and biological works. Accordingly I want to disturb the common account of Aristotle’s thought as a neat system of (...) ontological order and metaphysical closure—not to exclude such elements but to place them within a world-view that includes certain limits at the edges of being. (shrink)

This study attempts to reconstruct Nietzsche’s reading of Aristotle in the 1860s and 1870s—the years before he left his career as a philologist. Against the popular view that Nietzsche read only one book by Aristotle, namely the Rhetoric, the present study hopes to show that he had direct knowledge of several of Aristotle’s main works, while much of his interest in Aristotle centred on the latter’s account of art. The particular aim of this study is to explore how Nietzsche’s reading (...) of Aristotle contributed to the formation of The Birth of Tragedy. It will show that, although Nietzsche mentions Aristotle in his first book only en passant, his theory of tragedy should be understood against the background of Aristotelian poetics, especially as interpreted by such contemporaries as Jacob Bernays, Joseph Hubert Reinkens, and Gustav Teichmüller. (shrink)

Even though Aristotle speaks often about language, his remarks do not fall within the province of any given discipline, let alone belong to the same subject matter or amount to a πραγματεία of their own. Rather, they are somewhat scattered across the Aristotelian corpus and are to be gleaned from a vast array of texts, including ethical and political writings (where language plays a remarkable role in shaping human sociability), treatises on natural history (where Aristotle outlines the physiology of phonation (...) in some animals such as birds and human beings), books on the soul (where Aristotle describes how language is intertwined with perception, imagination and thought) and works on dialectics, poetics and rhetoric (where linguistic expression is described as a powerful means of both persuasion and deception). Accordingly, «Le langage. Lectures d’Aristote» elects to study Aristotle’s understanding of language and its workings by asking relevant Aristotelian texts only those questions these texts answer – either by themselves or in conjunction with one another. -/- Quelque nombreuses et quelque influentes qu'elles soient par ailleurs, les vues d'Aristote sur le langage se caractérisent à la fois par leur hétérogénéité et par leur marginalité. Sans faire nulle part du langage et de la signification l'objet d'une investigation autonome et méthodique, Aristote multiplie les remarques et les digressions à leur sujet, que ce soit dans ses écrits d'éthique et de politique ou dans ses traités d'histoire et de philosophie naturelle, ou encore dans ses manuels de dialectique, de poétique et de rhétorique. Face à l'abondance de ces matériaux et aux difficultés qu'ils présentent du fait de s'offrir au lecteur en ordre quelque peu dispersé, «Le langage. Lectures d'Aristote» fait le choix d'indexer l'étude du langage chez Aristote sur des passages précis du corpus en ne posant aux textes aristotéliciens d'intérêt linguistique que les questions auxquelles ces mêmes textes - tantôt pris isolément, tantôt mis en relation les uns avec les autres - apportent une réponse. (shrink)

The present book is an in-depth study of Lukács’ musical aesthetics and, more specifically, of his essay on music from The Specificity of the Aesthetic (Die Eigenart des Ästhetischen, 1963). Lukács’ problematic in this essay revolves around a central issue in the history of Aesthetics: the problem of mimesis in music. Since the time of Plato and Aristotle music has been regarded as a mimesis (an imitation) of reality. However, this theory of music as mimesis presents major (...) difficulties which have long been the subject of philosophical thinking: how is it possible that an art so far removed from reality, an art that employs sounds (not images or concepts) be considered as an imitation of reality? This is the main question that concerns Lukács in this essay. The present book seeks, through the detailed examination of Lukács’ central argument, to demonstrate and clarify Lukács’ solution to this problem of musical mimesis and to highlight its significance for the contemporary debate on Aesthetics. (shrink)

This article proposes that oral performance could be a philosophical activity in early China. The focus is on the Huainanzi, a densely rhymed philosophical treatise compiled by Liu An in the second century b.c.e. I show that the tome contains various sound-correlated poetic forms that are intended not only to enable textual performance but also, by means of aural mimesis, to encourage the intuitive understanding of its philosophical messages. Thus scholars of ancient poetry, philosophy, or intellectual history, despite being (...) habituated to reading silently and observing disciplinary boundaries, should be attentive to these sonic patterns in order to do justice to the poetic-cum-philosophical richness and originality of this text. More importantly, I argue that these poetic forms enable readers and audiences to experience, embody, and, above all, enact the Way through textual performance. Thanks to the sound patterns of the Huainanzi, the somatic processes of aural reading and philosophical praxis can occur simultaneously. Vocalization becomes an actionable and repeatable spiritual exercise, which facilitates the intuitive understanding and internalization of philosophical values. In other words, the perennial knowing–doing gap is heroically closed by the Huainanzi. / 淮南子的文本聲景：早期中國的詩歌、表演、哲學與實踐 / 王棕琦 / 本文論證早期中國的文本表演可以是一種具創造性的哲學活動，而非只是以聲音演繹書寫文本的朗讀活動。文中首先指出《淮南子》裏跟聲音有關的詩歌形式不但有助朗誦表演，更能讓讀者直觀感悟書中哲學思想而不落言筌。而 且，這些詩歌形式更讓讀者通過朗讀而實踐、內化書中所述之大道。可以說，《淮南子》對中國哲學的一大貢獻在於它將「知道」、「傳道」和「行道」三者合而為一。. (shrink)

Stories express hypotheses, interpretations of the world that have a certain degree of probability. To demonstrate this thesis I have adopted the notion of hypothesis, in a sense very close to the Meinongian concept of assumption, and a ‘metric’ conception of the values of the truth or falsity of a proposition – as that has been proposed in several ways by Peirce, Vasil’ev and Meinong. To show the the cognitive value of literary texts, and therefore their truth value, I take (...) my move from chapter 9 of Aristotle’s Poetics, where he holds that poetry is imitative of reality, not in the sense of history – which relates what has happened – but rather, in so far as it expresses “the kinds of things that might happen, that is, that could happen because they are either probable or necessary.” The probable admits variations of degree. By means of an examination of the Meinongian concepts of assumption and objective (i.e. state of affairs), which also allow different modes of gradation, I introduce, with examples drawn from Dante’s Divine Comedy and The Description (Tradimento) by Machiavelli, a theory of degrees of truth that makes it possible to apply the concept of probability to literary as well as to historical texts. Finally, I connect the universal character of the literary text with the ontological notion of incomplete object and argue that a fictional object, as it is incomplete, is not an individual but a type. (shrink)

Evidence for a Parmenidean influence on Plato’s Republic typically focuses on content from Bks. V-VI, and the development of Plato’s Theory of Forms. This essay aims to suggest that Plato’s censorship of poetic content in Bks. II-III—particularly the rules for portraying divine nature (376e-383c)—also draw heavily upon the Eleatic tradition, particularly Parmenides’s. Identifying this further Eleatic influence will be enhanced by my own reading of Parmenides. This reading advocates understanding Parmenides in a more Xenophanean-vein—i.e. by taking What-Is to be an (...) explication of the essential qualities of divine nature, and the overall poem as rejecting traditional, mythopoetic accounts of divinity. Recognizing this Eleatic influence on the censorship of poetic content, a tension arises. For Plato infamously censors poetic styles next, concluding that mimetic dialogue may only be rarely employed, and only then in imitation of virtuous persons and actions (392c-398b). This would entail banning all poetic works relying exclusively on mimetic dialogue. Yet, not only do Plato’s own dialogues entirely consist of mimetic dialogue, so does Parmenides’s proto-dialogue. Furthermore, by so closely imitating Parmenides’s thought and language in Republic, has not Plato himself engaged in a type of intellectual and compositional mίμησις? Just as it would be strange to ban the very dialogue (Republic) which outlines and justifies Kallipolis in the first place, it would also be troubling to ban a philosophical work (i.e. Parmenides’s poem) which Republic is so heavily indebted to. Such a ban would also seem strongly at odds with Plato’s general reverence for Parmenides. In an attempt to address these tensions, I suggest that in Republic II-III, Plato’s lack of concern for banning philosophical works along with mimetic poetry should further suggest that he intends the ban to be far narrower than it first appears: as a rejection of performative, rather than compositional, mίμησις. (shrink)

The philosophy of biomimicry, I argue, consists of four main areas of inquiry. The first, which has already been explored by Freya Mathews, concerns the “deep” question of what Nature ultimately is. The second, third, and fourth areas correspond to the three basic principles of biomimicry as laid out by Janine Benyus. “Nature as model” is the poetic principle of biomimicry, for it tells us how it is that things are to be “brought forth”. “Nature as measure” is the ethical (...) principle of biomimicry, for it tells us that Nature places ethical limits or standards on what it is possible for us to accomplish. And “Nature as mentor” is the epistemological principle of biomimicry, for it affirms that Nature is the ultimate source of truth, wisdom, and freedom from error. Within this overall framework, I argue that seeing Nature as physis—understood as “self-production” or “self-placing-into-the-open”—constitutes the requisite ground for the poetic, ethical, and epistemological principles of biomimicry, and that biomimicry thus conceived involves a new philosophical paradigm, which I call “enlightened naturalism”. (shrink)

<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion (...) of poetry, and both German romanticism and Heidegger owe a deep debt to Plato. The study goes on to defend the view that Heidegger was influenced by romanticism. The author’s project is thus both historical, showing the specificity of the romantic and Heideggerean works, and systematic, defending aspects of their alternative mode of thinking while also pointing to their weaknesses. </P>. (shrink)

The Catena aurea entium of Henry of Herford is part of the work of re-elaboration of Aristotle’s natural-philosophical corpus, which characterised the European intellectual environment in the Late Middle Ages. In the central books of his encyclopaedia, Henry comments on the works of natural philosophy of Albert the Great, placing himself in continuity with the cultural project started by Albert in Cologne. The present article aims to compare the 5th book of the Catena aurea entium, which consists of a comment (...) per modum quaestionis on the Meteora of Albert the Great, with some meteorological quaestiones composed between the 13th and 15th centuries. This analysis will lead me to grasp the philosophical orientations and interpretation of Henry and also his reception of Albert the Great’s meteorology. In the 5th book, Henry introduces an extensive medical section taken from the pseudo-Aristotelian Problemata, in which he applies the Galenic medical principles to meteorology. Besides, in the quaestio 105 (V 1 105), he interprets Albert through the theological-poetic explanation of ancient origins on the sacrality of the number three and an excerpt from the Liber proverbiorum. (shrink)

In this paper, I want to look at Deleuze’s philosophical heritage in two different senses. In the first part of the paper, I explore his relationship to perhaps the most influential philosopher of the twentieth century, Martin Heidegger. Heidegger plays a central role in Deleuze’s early philosophy, and even when in his later collaborations with Guattari their explicit references to Heidegger are dismissive, Heidegger’s influence can clearly be detected, particularly in their critiques of other philosophers. In the second part of (...) the paper, I look at Deleuze’s own contribution to philosophy, and to see how this contribution has been assessed by one of the most influential contemporary French philosophers, Alain Badiou. For Heidegger, Deleuze, and Badiou, perhaps the central problem for philosophy emerges from thinking about totality. For all three, the traditional metaphysical view of totality, derived from Aristotle’s concept of paronymy, occludes rather than solves the problem of how we characterise our most general concepts. As we shall see, Heidegger’s diagnosis of metaphysics, as constituted by what he calls onto-theology, is shared by all three philosophers, while their responses to this diagnosis differ. Deleuze and Badiou both reject Heidegger’s poetics of being in favour of the language of mathematics, but the question I want to explore in the final part of the paper is, which mathematics? The mathematics of the continuous, or the mathematics of the discrete? (shrink)

A survey of commentaries on Aristotle’s Poetics over the past century reflects a long-standing assumption that pleasure, rather than understanding, is to be seen as the real aim of tragedy, despite weak textual evidence to this end. This paper seeks to rehabilitatethe role of understanding in tragedy’s effect, as Aristotle sees it, to an equal status with that of its affective counterpart. Through an analysis of the essential inducement of wonder on the part of the viewer and its connection with (...) the organic unity of the plot—what Aristotle calls the “soul” of tragedy—I argue that the telos of tragedy in the Poetics is intended to accommodate both pleasure and incipient philosophical activity without necessarily privileging either. (shrink)

In book X, Plato's rejection of mimetic poetry can be read as a parallel to rejecting the conventions of the poetic style contemporary to his time. This rejection can, owing to the premises derived and the analyses made in this paper, further be read as to suggest that Plato presses for a reformation of the poetic vocabulary. That is, as to suggest that Plato proposes that the non-rational imagistic tradition, embodied in mimetic poetry, get replaced by a rational and noetic-aspiring (...) rhetoric that opts for knowledge and truth. (shrink)

Is it not surprising that we look with so much pleasure and emotion at works of art that were made thousands of years ago? Works depicting people we do not know, people whose backgrounds are usually a mystery to us, who lived in a very different society and time and who, moreover, have been ‘frozen’ by the artist in a very deliberate pose. It was the Classical Greek philosopher Aristotle who observed in his Poetics that people could apparently be moved (...) even by the imitation of a person or an act. And although we are usually well aware that it is a simulacrum, not a real situation, it nevertheless sometimes seems as if we ourselves are standing there on the stage or in the painting, so intense and emotional is our response, even though we are just spectators. Aristotle concludes from this that we have intellectual capacities which allow us put ourselves in another’s place and consequently to react to simulated situations as though they are actually happening to us, here and now. In this process, he contends, observation, memory, imagination and emotions are crucial elements. In the past it was not customary to invoke human mental faculties to explain our response to works of art. The Ancient Greeks, after all, knew little about the human body or brain and usually referred to the extended world of the gods in their endeavours to comprehend the ‘inner world’ of human beings. In our time the situation is completely different—such an allusion to the brain no longer surprises us. Whether it is about the mystery of the consciousness, the question of free will or accounts of bizarre psychological aberrations or disorders, we have become accustomed to references to parts of the brain, to images of brain scans, to reports about neural networks and the like. However, because there are so many factors that play a part in our appreciation of works of art we need a complex explanation for it, and it is not enough to look only at certain properties of the brain that are determined by evolution. Those properties are shared by every human being, and so are rather useless in explaining people’s different reactions to the same work of art. Evidently the brains of individuals differ so much that they make it possible for people to respond differently to one and the same artwork. This, of course, raises questions concerning the painted emotions that can be seen in this exhibition. Virtually everyone, after all, is fascinated by such paintings and usually recognizes the emotions they represent. The reactions to these painted emotions are also often similar. This is probably why artworks like this are generally highly valued, then and now, here and elsewhere: from the enigmatically smiling Egyptian Queen Nefertiti and the startled Rembrandt to a seemingly despairing African mask. Aristotle observed that in the theatre players imitate actions that are associated with emotions in a number of ways and that these emotions are shared in a particular fashion by the playwright, the actors and the audience. The audience may even be carried away by these emotions to such an extent that they are in a sense purged of them and can subsequently leave the theatre relieved. Are such emotional reactions perhaps related to the fact that emotions are universal and that brains respond similarly to them? Is this why we can so readily identify painted emotions? May we therefore also assume that the properties of the brain determined by evolution help us to explain these emotions? In answering these questions we shall discuss a number of insights into emotions in psychology and brain science and explore some theories about the possible function of emotions and their expression. (shrink)

This paper addresses a difficult passage from Aristotle’s Metaphysics (V. 4, 1015a11-13) in which he identifies a metaphorical use of the term “nature” (phusis) to refer to the entities which he calls “substances” (ousiai). I claim that the passage at stake deploys the very notion of metaphor on the basis of an analogy (as defined in the Poetics and in the Rhetorics), which is grounded on a weak (and, sometimes, very weak) similarity between two relations (each involving two relata). The (...) sentences found in 1015a11-13 belong to those kind of metalinguistic sentences which we usually employ to shed some light on the metaphorical use of a term. The similarity Aristotle is presupposing is this: both nature and substance are, in their respective fields, some kind of principle that guarantees (besides other things) certain persistence conditions for what they are the principles of. And this weak similarity is enough for the term “nature” to refer metaphorically to substances. (shrink)

The present article has as its purpose to analyze the “spectacle” (ὄψις), from the conceptions developed in the Poetics of Aristotle, as a fundamental part in the tragic conception of Sophocles, in the work Oedipus Tyrannus. The analysis focused on the exodus of the play to demonstrate how aspects of theatrical representation are present in the tragic text.

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

Aristotle, though not the first Greek virtue ethicist, was the first to establish virtue ethics as a distinct philosophical discipline. His exposition of the subject in his Nicomachean Ethics set the terms of subsequent debate in the European and Arabic traditions by proposing a set of plausible assumptions from which virtue ethics should proceed. His conception of human well-being and virtue as well as his brand of ethical naturalism were influential from antiquity through the Middle Ages and continue to be (...) influential today. (shrink)

Discussion of the Aristotelian syllogistic over the last sixty years has arguably centered on the question whether syllogisms are inferences or implications. But the significance of this debate at times has been taken to concern whether the syllogistic is a logic or a theory, and how it ought to be represented by modern systems. Largely missing from this discussion has been a study of the few passages in the Prior Analytics where Aristotle provides explicit guidance on how to individuate syllogisms. (...) I argue that syllogisms are individuated by unordered premise pairs and so may be fruitfully thought of as multi-succedent sequents. I conclude by drawing a few consequences for the representation of the syllogistic. (shrink)

This chapter offers a complete account of Aristotle’s underexplored treatment of the virtue of wittiness (eutrapelia) in Nicomachean Ethics IV.8. It addresses the following questions: (1) What, according to Aristotle, is this virtue and what is its structure? (2) How do Aristotle’s moral psychological views inform Aristotle’s account, and how might Aristotle’s discussions of other, more familiar virtues, enable us to understand wittiness better? In particular, what passions does the virtue of wittiness concern, and how might the virtue (and its (...) attendant vices) be related to the virtue of temperance (and its attendant vices)? (3) How does wittiness, as an ethical virtue, benefit its possessor? (4) How can Aristotle resolve some key tensions that his introducing a virtue of wittiness apparently generates for his ethics? In addition to exploring these questions, this chapter challenges some commonly accepted accounts of Aristotle’s views on the nature of the laughable. (shrink)

Much of the debate about Aristotle’s criticisms of Plato has focused on the separability of the Forms. Here the dispute has to do with the ontological status of the Forms, in particular Plato’s claim for their ontological priority in relation to perceptible objects. Aristotle, however, also disputes the explanatory and causal roles that Plato claims for the Forms. This second criticism is independent of the first; even if the problem of the ontological status of the Forms were resolved to Aristotle’s (...) satisfaction, this second criticism would still stand. The problem here is not that there is no room for Aristotle’s four causes in Plato’s ontology; on the contrary, antecedents for all four can be found in Plato’s works. The problem, instead, is that Plato’s Forms fail to meet the general requirements that Aristotle sets out for the material, efficient, formal, and final causes of perceptible objects. Hence, even if the Forms were immanent in perceptible objects, they would still explain nothing about them. (shrink)

A two-fold study, on the one hand of the thought-provoking mimesis by which Plato gives his hearer an occasion for self-knowledge and self-transcendence and of the typical sequential structure, an appropriation of the trajectory of the poem of Parmenides, by which Plato orders the drama of inquiry, and on the other hand a commentary on the Crito that aims to show concretely how these elements — mimesis and Parmenidean structure — work together to give the dialogues their exceptional (...) elicitative power. (shrink)

Aristotle (384-322 BC) was an ancient Greek philosopher, pupil of Plato, and tutor of Alexander the Great. His works span the topics of biology, metaphysics, mind, logic, language, science, epistemology, ethics, and politics. Aristotle held that there are many divine beings, but a supremely divine being is the first cause of the universe and the goodness of all other beings. This divine being plays a fundamental explanatory role in Aristotle’s thought.

The Nicomachean Ethics is generally thought to be a “dialectical” work, aimed at resolving aporia in a set of endoxa, which it takes as its starting-point. I argue that Aristotle’s aim in the treatise is, rather, to produce definitions of key ethical terms, and that his starting-points are limited to evaluative and discriminative judgments of a certain sort, which are demanded by the nature of the discipline and are not endoxa. I discuss also how the definitions are reached (focusing on (...) the cases of the virtues of character) and the roles that aporiai do play in the process. (shrink)

The present text is the revised and corrected English translation of the book published in German by the Lang Verlag, Bern 2008. Unfortunately the text still has some minor flaws (especially in the Index Locorum) but they do not concern the main thesis or the arguments. It will still be the final version, especially considering my age. It is among the most widespread and the least questioned convictions that in Metaphysics Lambda Aristotle presents a theology which has its basis in (...) a metaphysics of substance. Doubts about theological interpretation are beginning to stir in a growing number of publications, but nevertheless the majority of research literature, compendiums and histories of philosophy argues within this frame. A closer look at the facts reveals that this conviction has no basis in the text. Quite the contrary it is based on a reception with theological interests. It arised over centuries, starting from Patristic times and the Middle Ages; it was influenced by Neoplatonic texts as the Liber de Causis or the Theologia Aristotelis, texts for a long time considered as original Aristotelian books. And, if you read not translations but the Greek text, you see that the word 'god' occurs much less than in a theological book should be. In some translations we find more occurences of that word, and especially in French, Italian, English translations some words as le Bien, l'Intelligence etc. are written with capitals to inticate that it is about god. To make it even more clear, we read often the term 'First Mover' or 'Unmoved Mover' as an other name for god, but this expression is never used by Aristotle. So the reader has the impression that Aristotle speaks continuously about god. In addition, in the present book you will find arguments which clean up with the outdated concept of substance in the Aristotelian text, a concept which was developed for quite other problems than Aristotle had, namely theolgical ones. And, if there is no substance, there is no corresponding metaphysics of substance and no theology or onto-theology. If substance, metyphysics, theology play no role in Metaphysics Lambda, what else is its content and aim? That is not so difficult to say because Aristotle says it sufficiently clear in his first sentence, περὶ οὐσίας ἡ θεωρία: our inquiry is about being; its aim is to develop the Frage nach dem Sein and to state a speculative answer: being is noesis, Sein ist Gewahren. (shrink)

Resumen: Este artículo tiene como objetivo indagar si la mímesis ―o imitación― tal como la entiende René Girard (1923-2015), afecta el juicio ético ―o evaluación moral― de una acción que el ejecutivo realiza en la empresa. En la primera parte, se caracteriza el juicio ético de acuerdo con una revisión de la literatura de ética empresarial (2010-2020). En la segunda parte, se sintetiza cómo Girard explica la conformación de la sociedad a partir de la mímesis, una fuerza impulsora ambivalente que (...) se manifiesta en el deseo de ser como el otro y de diferenciarse del otro, el deseo de apropiarse de lo del otro y la rivalidad. En la tercera, se ilustran las ideas de Girard con ejemplos de la dinámica organizacional. En la cuarta y última parte, se realiza la discusión a fin de responder la pregunta de investigación. Se concluye que, si el sujeto decide no ejercer su capacidad de discernimiento, la mímesis ofrece elementos y oportunidades o bien para el autoengaño respecto de la moralidad y responsabilidad de una acción, o bien para la omisión del juicio ético individual. Abstract: This article aims to investigate whether mimesis ―or imitation― as understood by René Girard (1923-2015), affects the ethical judgment ―or moral evaluation― of an action that the executive performs in the company. First, this text offers a characterization of the ethical judgment according to the business ethics literature review (2010-2020). Second, this article provides a synthesis of Girard´s theory of mimetic desire. Girard conceived the mimesis as a main social driving force from which emerge both, the desire to be like the other and to differentiate from the other. This ambivalent and paradoxical force leads human beings to order and union, or to rivalry and revenge. Third, this inquiry illustrates Girard's ideas with examples of organizational dynamics. In the fourth and last part, the discussion leads to answering the research question. Study’s limitations are pointed out. This inquiry concludes that if the decision-making subject decides not to exercise his/her discernment and rather to remain in the mimesis' blindness, the executive will find elements and opportunities for self-deception or substitution of his/her own ethical judgment with others imitation. (shrink)

Aristotle analyses a large range of objects as composites of matter and form. But how exactly should we understand the relation between the matter and form of a composite? Some commentators have argued that forms themselves are somehow material, that is, forms are impure. Others have denied that claim and argued for the purity of forms. In this paper, I develop a new purist interpretation of Metaphysics Z.10-11, a text central to the debate, which I call 'hierarchical purism'. I argue (...) that hierarchical purism can overcome the difficulties faced by previous versions of purism as well as by impurism. Roughly, on hierarchical purism, each composite can be considered and defined in two different ways: From the perspective of metaphysics, composites are considered only insofar as they have forms and defined purely formally. From the perspective of physics, composites are considered insofar as they have forms and matter and defined with reference to both. Moreover, while the metaphysical definition is a definition in the strict sense of 'definition', the physical definition is a definition in a loose sense. Analogous points hold for intelligible composites and geometry. Finally, neither sort of definitional practice implies that, for Aristotle, forms are impure. (shrink)