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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

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)

Authenticates approximately 500 lines of Aristotle's lost work the Protrepticus (Exhortation to Philosophy) contained in the circa third century AD work by Iamblichus of Chalcis entitled Protrepticus epi philosophian. Includes a complete English translation of the authenticated material.

We hope to show that the overall protreptic plan of Aristotle's ethical writings is based on the plan he used in his published work Protrepticus (Exhortation to Philosophy), by highlighting those passages that primarily offer hortatory or protreptic motivation rather than dialectical argumentation and analysis, and by illustrating several ways that Aristotle adapts certain arguments and examples from his Protrepticus. In this essay we confine our attention to the books definitely attributable to the Nicomachean Ethics (thus excluding the common (...) books). (shrink)

This is a brief introduction to the origin and development of Protestant ethical works in the tradition of Aristotle’s Nicomachean Ethics.

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)

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 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)

Aristotle’s typical procedure is to identify something's four causes. Intentional action has typically been treated as an exception: most think that Aristotle has the standard causalist account, according to which an intentional action is a bodily movement efficiently caused by an attitude of the appropriate sort. I show that action is not an exception to Aristotle’s typical procedure: he has the resources to specify four causes of action, and thus to articulate a powerful theory of action unlike any other on (...) offer. (shrink)

In Posterior Analytics 71b9 12, we find Aristotle’s definition of scientific knowledge. The definiens is taken to have only two informative parts: scientific knowledge must be knowledge of the cause and its object must be necessary. However, there is also a contrast between the definiendum and a sophistic way of knowing, which is marked by the expression “kata sumbebekos”. Not much attention has been paid to this contrast. In this paper, I discuss Aristotle’s definition paying due attention to this contrast (...) and to the way it interacts with the two conditions presented in the definiens. I claim that the “necessity” condition ammounts to explanatory appropriateness of the cause. (shrink)

This presentation of Aristotle's natural deduction system supplements earlier presentations and gives more historical evidence. Some fine-tunings resulted from conversations with Timothy Smiley, Charles Kahn, Josiah Gould, John Kearns,John Glanvillle, and William Parry.The criticism of Aristotle's theory of propositions found at the end of this 1974 presentation was retracted in Corcoran's 2009 HPL article "Aristotle's demonstrative logic".

Aristotle contrasts episteme and doxa through the key notions of universal and necessary. These notions have played a central role in Aristotle’s characterization of scientific knowledge in the previous chapters of APo. They are not spelled out in APo I.33, but work as a sort of reminder that packs an adequate characterization of scientific knowledge and thereby gives a highly specified context for Aristotle’s contrast between episteme and doxa. I will try to show that this context introduces a contrast in (...) terms of explanatory claims: on the one hand, episteme covers those claims which capture explanatory connections that are universal and necessary and thereby deliver scientific understanding; on the other hand, doxa covers the explanatory attempts that fail at doing so. (shrink)

how does one inquire into the truth of first principles? Where does one begin when deciding where to begin? Aristotle recognizes a series of difficulties when it comes to understanding the starting points of a scientific or philosophical system, and contemporary scholars have encountered their own difficulties in understanding his response. I will argue that Aristotle was aware of a Platonic solution that can help us uncover his own attitude toward the problem.Aristotle's central problem with first principles arises from (...) the fact that they cannot be demonstrated in the same way as other propositions. Since demonstrations proceed from prior and better-known principles, if the principles themselves were in need of... (shrink)

This paper investigates the identity and function of τὰ μεταξύ in Aristotle and the Early Academy by focussing primarily on Aristotle’s criticisms of Xenocrates of Chalcedon, the third scholarch of Plato’s Academy and Aristotle’s direct competitor. It argues that a number of passages in Aristotle’s Metaphysics (at Β 2, Μ 1-2, and Κ 12) are chiefly directed at Xenocrates as a proponent of theories of mathematical intermediates, despite the fact that Aristotle does not mention Xenocrates there. Aristotle complains that the (...) advocates for mathematical intermediates produce theories that are ontologically and epistemologically inefficient (related to, but not confined by, the “Uniqueness Problem”); that their so-called “intermediates” feature properties opposed to those of the forms on which those intermediates are thought to depend; and that what is μεταξύ must be between objects of a different genus. In all three cases, Aristotle’s criticisms are shown to be reactions to the metaphysics and cosmology of Xenocrates, especially his doctrine of the intermediary demonic isosceles triangle souls. Xenocrates emerges as a prime candidate for Aristotle’s critique of Platonist τὰ μεταξύ theories – equal to, and possibly even exceeding, Plato as target. (shrink)

Aristotle is said to have held that any kind of actual infinity is impossible. I argue that he was a finitist (or "potentialist") about _magnitude_, but not about _plurality_. He did not deny that there are, or can be, infinitely many things in actuality. If this is right, then it has implications for Aristotle's views about the metaphysics of parts and points.

Most interpretations of Aristotle’s Posterior Analytics believe that the term ‘ameson’ is used to describe the principles or foundations of a given system of justification or explanation as epistemically prior to or more fundamental than the other propositions in the system. Epistemic readings (as I shall call them) arguably constitute a majority in the secondary literature. This predominant view has been challenged by Robin Smith (1986) and Michael Ferejohn (1994; 2013), who propose interpretations that should be classified as non-epistemic according (...) to the definition above. My aim in this article is purely negative. I intend to show that these non-epistemic interpretations are liable to serious objections and are in conflict with some important features of Aristotle’s theory of demonstration. (shrink)

Discussions of Aristotle’s Metaphysics Z tend to treat it either as an independent treatise on substance and essence or as preliminary to the main conclusions of the Metaphysics. I argue instead that Z is central to Aristotle’s project of first philosophy in the Metaphysics: the first philosopher seeks the first causes of being qua being, especially substances, and in Z, Aristotle establishes that essences or forms are the first causes of being of perceptible substances. I also argue that the centrality (...) of Z to first philosophy is compatible with its status as theology. (shrink)

Aristotle’s philosophy is considered with respect to one central concept of his philosophy, viz. opposition. Far from being a mere side-effect of syllogistic, it is argued in the present paper that opposition helps to articulate ontology and logic through an account of what can be or cannot be in a systematic and structural way. The paper is divided into three main parts. In Section I, the notion of Being is scrutinized through Aristotle’s theory of categories. In Section II, the notion (...) of Non-Being is connected to Aristotle’s theory of oppositions. In Section III, the notion of essence is revisited in order to bring about a holist theory of meaning by individuating through opposite properties. In conclusion, the legacy of Aristotle is depicted as balanced between a powerful reflection around Being and a restrictive ontology of substance. (shrink)

This book investigates what change is, according to Aristotle, and how it affects his conception of being. Mark Sentesy argues that change leads Aristotle to develop first-order metaphysical concepts such as matter, potency, actuality, sources of being, and the teleology of emerging things. He shows that Aristotle’s distinctive ontological claim—that being is inescapably diverse in kind—is anchored in his argument for the existence of change. -/- Aristotle may be the only thinker to have given a noncircular definition of change. When (...) he gave this definition, arguing that change is real was a losing proposition. To show that it exists, he had to rework the way philosophers understood reality. His groundbreaking analysis of change has long been interpreted through a Platonist lens, however, in which being is conceived as unchanging. Offering a comprehensive reexamination of the relationship between change and being in Aristotle, Sentesy makes an important contribution to scholarship on Aristotle, ancient philosophy, the history and philosophy of science, and metaphysics. (shrink)

ABSTRACT: This is a short companion piece to my ‘Found in Translation – Aristotle’s Nicomachean Ethics III.5 1113b7-8 and its Reception’ in which I examine in close textual analysis the philosophical question whether these two lines from the Nicomachean Ethics provide any evidence that Aristotle discussed free choice – as is not infrequently assumed. The result is that they do not, and that the claim that they do tends to be based on a mistranslation of the Greek. (There is some (...) inevitable overlap with Part 1 of the 'Found in Translation' paper.). (shrink)

In 'Metaphysics IX.6' (1048b 18-35) Aristotle presents a test to distinguish between "kinesis" and "energeia," based on relations between the perfective and the imperfective aspect of the verb. This passage has been interpreted as drawing a linguistic distinction between classes of verbs (e.g., stative verbs) by means of a linguistic criterion (Ackrill, Graham). But such an interpretation is in conflict with the text. Aristotle's test must, therefore, be understood as a metaphysical criterion between items in the world (rather than (...) lingual items) by means of a metaphysical criterion, exploiting properties of these items. These items are events, and 'Metaphysics IX.6' exhibits Aristotle's awareness to certain topics discussed in modern event ontology. (shrink)

Aristotle’s discussions of natural slavery, ‘barbarian kingship’, and the natural characteristics of barbarians or non-Greeks are usually read as calling into question the intellectual, ethical, and political accomplishments of non-Greeks. Such accounts of non-Greek inferiority or inability to self-govern also appear to presuppose a climatic or environmental account that on the whole would imply severe limitations on the possibility of political flourishing for peoples living outside the Greek Mediterranean basin. In light of such accounts, it is somewhat astounding to find (...) Aristotle praising the social and political institutions of Carthage within his discussion of the best constitution in the second book of the Politics. In the 4th century BCE, Carthage (modern day Tunis) was a Phoenician commercial empire that culturally and linguistically was Semitic and clearly non-Greek. That Aristotle contrasts Carthage, a non-Greek polis, favorably with both Sparta and Crete undermines both the claim that Aristotle embraced a categorical opposition between Greeks and non-Greeks and the claim that he was dismissive of the achievements of non-Greeks. (shrink)

Sense experience, naïvely conceived, is a way of knowing perceptible properties: the colors, sounds, smells, flavors, and textures in our perceptual environment. So conceived, ordinary experience presents the perceiver with the essential nature of a property like Sky Blue or Middle C, such that how the property appears in experience is identical to how it essentially is. In antiquity, as today, it was controversial whether sense experience could meet the conditions for knowledge implicit in this naïve conception. Aristotle was a (...) partisan in this debate, but his position is poorly understood. This dissertation examines how Aristotle’s perceptual psychology responds to ancient challenges to the naïve conception, and so articulates his defense of perceptual knowledge. -/- Aristotle’s defense relies on an ontology of “perceptual qualities"—a core class of perceptible properties—according to which those qualities, despite having a perceiver-independent essence rooted in the physics of causation and affection, nevertheless can be present in experience as they essentially are. Chapter 1 defends this realist and objectivist reading against competing interpretations, which overlook a crucial distinction between perceptual qualities and perceptual objects. Chapter 2 presents Aristotle’s ontology as a physicalism that uncharacteristically allows for perceptual qualities to appear in experience as they essentially are. -/- This ontology informs Aristotle’s account of the psychological conditions under which perceivers actually are presented with the essence of perceptual qualities. The locus of this account is an obscure passage where Aristotle purports to show that the senses “discriminate” perceptual qualities because the senses are “mean states” (An. 2.11, 424a5–7). Chapter 3 develops a comprehensive interpretation of the sensory mean state, which Chapter 4 uses to elucidate Aristotle’s argument for sensory discrimination. Sensory discrimination turns out to be a process in which the essence of a perceptual quality comes to be present in the affection it produces in a perceiver. For Aristotle, this shows that sense perception meets a condition for knowledge that his predecessors, including Plato, thought it could not meet. For in his view, but not in theirs, sense experience shares in both the truth and the essence of the qualities it perceives. (shrink)

This paper examines Aristotle’s vocabulary of pain, that is the differences and relations of the concepts of pain expressed by synonyms in the same semantic field. It investigates what is particularly Aristotelian in the selection of the pain-words in comparison with earlier authors and specifies the special semantic scope of each word-cluster. The result not only aims to pin down the exact way these terms converge with and diverge from each other, but also serves as a basis for further understanding (...) Aristotle’s philosophical conception of pain. (shrink)

For Aristotle, demonstrative knowledge is the result of what he calls ‘intellectual learning’, a process in which the knowledge of a conclusion depends on previous knowledge of the premises. Since demonstrations are ultimately based on indemonstrable principles (the knowledge of which is called ‘νοῦς’), Aristotle is often described as advancing a foundationalist doctrine. Without disputing the nomenclature, I shall attempt to show that Aristotle’s ‘foundationalism’ should not be taken as a rationalist theory of epistemic justification, as if the first principles (...) of science could be known as such independently of their explanatory connections to demonstrable propositions. I shall argue that knowing first principles as such involves knowing them as explanatory of other scientific propositions. I shall then explain in which way noetic and demonstrative knowledge are in a sense interdependent cognitive states – even though νοῦς remains distinct from (and, in Aristotle’s words, more ‘accurate’ than) demonstrative knowledge. (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)

In the De Anima, Aristotle claims that the five senses are infallible about their proper objects. I contend that this claim means that sight is infallible about its proper object in its most specific form, i. e. sight is infallible about red or green and not merely about color in general. This robust claim is justified by Aristotle’s teleological principle that nature does nothing in vain. Additionally, drawing on Aristotle’s comparison of perception and one’s understanding of the essences, I defend (...) a conception of the senses in which the structure of their contents is simple rather than predicative and show how this coheres better with the rest of my interpretation. (shrink)

In this paper, I examine Aristotle's notion of potentiality as it applies to the beginning of life. Aristotle’s notion of natural kinēsis implies that we should not treat the entity at the beginning of embryonic development as human, or indeed as the same as the one that is born. This leads us to ask: When does the embryo turn into a human? Aristotle’s own answer to this question is very harsh. Bracketing the views that lead to this harsh answer, (...) his theory of kinēsis still gives us reason for searching for a replacement answer. Aristotle’s own work unfortunately gives us no help in finding this answer. (shrink)

Some of Aristotle’s statements about the indemonstrability of the Principle of Non-Contradiction (PNC) in Metaphysics Γ 4 merit more attention. The consensus seems to be that Aristotle provides two arguments against the demonstrability of the PNC, with one located in Γ 3 and the other found in the first paragraph of Γ 4. In this article, I argue that Aristotle also relies upon a third argument for the same conclusion: the argument from truth. Although Aristotle does not explicitly state this (...) argument, it is the best argument that he could use to defend some of his statements in the second paragraph of Γ 4. Since the argument relies on only a few of Aristotle’s core views about truth, I propose that it is faithful to his considered position throughout his corpus, and it may be the strongest argument he could offer for the indemonstrability of the PNC. (shrink)

Aristotle‘s categories are presented as a system relying on logic and syntax instead of on meanings. His square of oppositions is found to be of crucial importance.

There seems to be an inconsistency at the heart of Aristotle’s Metaphysics: a differentia is said both to presuppose its genus (in vii 12) and to be logically independent from it (in x 7). I argue that the relation of analogy resolves this inconsistency, restores the coherence of the concepts of differentia and species, and gives x 7 its rightful place in the development of the Metaphysics.

Practical research, according to Aristotle, strives to actualize the Supreme Good as the ultimate end of life. The Final Good could be determined if preceded by an outline based on conceptual analysis. For this reason, Aristotle considers agathón (ἀγαθόν), as the universal concept of good, and clarifies its conceptual-categorical structure to explain how we can understand it. In virtue of the similarity between good and existences for their extension of senses (good has as many meanings as existences), Aristotle proceeds to (...) analyze good compared to existence as an absolute philosophical conception. Alongside his comparative study of good and existence, we can consider a metaphysics for good similar to the metaphysics of being and question its possibility. Corresponding to the metaphysics of existence that considers being qua being, one can imagine a metaphysics for good that investigates goodness qua goodness and explores its philosophical characteristics and theoretical attributes aimed at the question of its possibility. It appears, in the process of Aristotle’s analysis that there is a common meaning and central definite characteristic in several significations and different categories of being by reference to one starting point: the primary being or substance. From the categorical point of view, similarly, various categories are accidental qualities of the fundamental category of substance. Because of the one principle of the primary being or substance, a metaphysics for being which contemplates on being qua being would be possible. But good, on the contrary, is used homonymously in various different senses without any common meaning and with no reference to one principle. Of the categorical attitude, good is applied in any individual category independently with no connection with each other and by no reference to one main category. There is not, in fact, any category of primary good or substantial good which constitutes universal meaning and a single category as an appropriate subject matter for the intended knowledge of the metaphysics of good. Consequently, it is not possible to establish one primary philosophy for goodness qua goodness in the same way as the first philosophy of being as being. Knowledge, according to Aristotle, is composed of the eidos (form or essence) as a universal absolute subject and eidetic attitude as a necessary theoretical way of understanding. Eidetic view and eidos entity are based on the common meaning and single principle which are not found in the concept of good. Thus, the theoretical approach to good, which could not constitute the eidos of good and eidetic knowledge, leads to the Platonic Idea of good and the dialectical attitude. But Aristotle who does not follow dialectic, cannot obtain the eidetic path to goodness either, and, therefore, reconstructs good as the well-being which is the final good that humankind can obtain practically. So he goes on to outline good not as the good in itself which in essence necessitates theoretical cognition, but as a final good of human life that is a condition that entails practical realization. (shrink)

This is an Editorial Note for the special volume of the journal Manuscrito (42: 4) devoted to Aristotle's theory of demonstration and its logical and metaphysical entanglements, which has been organized by me and Breno Zuppolini (as Guest Editors), with papers authored by Benjamin Morison, Owen Goldin, David Bronstein, Michail Peramatzis, Andrea Falcon, Laura Castelli, Paolo Fait, Joseph Karbowski, Adam Crager, Klaus Corcilius, Robert J. Hankinson, Raphael Zillig and Pieter Sjoerd Hasper.