The Ion. Aristotle defines techne as ‘a capacity to make or do something with a correct understanding of the principle involved’. Here Plato shows a preference for straight narrative, in that by simply narrating events the poet may avoid entirely the explicit imitation of those characters he is speaking of, and the actors, too, can avoid placing themselves in a situation where they would imitate the evil acts of evil characters (as they would perhaps not normally do). Plato uses this in a sustained attack on Homer (Republic, X, p46-48). Characters must be consistent their actions; and it may be argued, they differ from real life people in this way, hence poetry’s “right to idealise”. Plato places a bigger emphasis on the soul being the source of true knowledge, while Aristotle argues that true knowledge comes from logic and reason. The action, being an action of men, hence necessarily involves metabasis (change of fortune), perhaps effected through what Aristotle calls peripety or recognition, for these produce pity and fear, and “tragedy is an imitation of actions producing these feelings” (Poetics, XI, p84): Nature: Becoming: motion, a change of form from potentiality to actuality In the doctrine of the Line the similar attributes of knowledge vs. illusion are approximated into a linear scale. Each step in this continuous chain is necessary for the sake of the end, and no step occurs simply by chance, but by a cause or combination of causes. Such portrayals provide justification for men to commit such acts themselves, and therefore these misrepresentations of gods and heroes are harmful to a general populace. However, an examination of ancient rhetoric and its development by the Sophists and then a study on Aristotle’s theory on rhetoric and how he concluded his findings direct our attention to whether this Greek philosopher only included, Imitative Art Knowing the principle behind an art is key to understanding what makes it good- only possible if one possessed techne. Although Plato’s view on knowledge describes the internal predisposed essence of all Forms and the need for a superior being to extract them from the student, Aristotle’s outlook resides as more, Theory of Forms and Aristotle's Theory of the Four Causes. As we study the philosophical ideas of how, -INTRO: Plato and Aristotle are two of the most influential Greek philosophers of history. His conceptualisation of both the political state and the individual soul separates reason and will (operations of the mind) from pleasure and the passions (occupations of the senses). In the past, Art was a form of documentation and recording. As with painting, so with poetry, says Plato; he does not treat poetry on its own terms. Reblogged this on CHRISTOPHER LOTI'S BLOG. Ross, W.D, ed. Though it is difficult for us to think of “imitation” as a process involving imagination, this is getting closer to the sense used by Aristotle. 5 (July, 1919) | The Great Pulp Magazine Index, Pingback: Plot or Character? Detroit: Wayne State UP, 1940. Developing centuries, the concept of mimesis has been explored and reinterpreted by scholars in various academic fields. by peripety, recognition, etc.). 1,515 Words Detroit: Wayne State UP, 1940. A History of Greek Philosophy (vol VI). The credible is also to be aimed at, the poet should choose “probable impossibilities rather than incredible possibilities” (Poetics, XXIV, p107), and if this is done properly then “idealisation” of events is the natural consequence. Both are equally ‘for a purpose'” (Guthrie 108). Change ), You are commenting using your Facebook account. Art and its form in today’s culture can be represented in many ways, birthed from artists as they express through their emotions and their perception of things. Thus Plato covers the case where there is a moral structure within poetry itself; that is, evil actions that are clearly portrayed as evil actions and to be condemned. Aristotle’s demands for a coherent and unified plot structure in The Poetics bear a strong resemblance to this “teleological chain”. Furthermore, where that imitated character has undesirable traits, the imitation is to be avoided. In one sense it could be thought of as an abstraction or extension upon reality; and art, through imitation, must obey “nature”, the very principles that govern the universe. Philosophy 2348: Aesthetics\ Aristotle. In Book II of The Republic, Plato begins a discussion of poetry which is concerned with gods and heroes. Plato. Thus the object of imitation in tragedy are men who are better than us, and in comedy men who are worse. There are other factors, too, which complicate the matter. Considering it unimportant and even dangerous, he denounced it. There is no question of holding a mirror up to nature or reality; to see how Aristotle explains the mechanisms of mimesis, as with Plato, it is necessary to outline Aristotle’s theories on the relation between art and nature, in particular his claims that there is a parallelism between objects of art and objects of nature.

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