Barstow, Marjorie. "Oedipus Rex as the Ideal Tragic Hero of Aristotle." The Classical
Weekly, vol. 6, no. 1, 2-4, 1912. Print.
Barstow observes one of Aristotle's fundamental points in her essay, which is that "Aristotle finds the end of human endeavor to be happiness…[which proceeds] from a steady and comprehensive intellectual vision which views life steadily and distinguishes in every action the result to be gained" (2). Poetry, like Oedipus Rex, helps illustrate Aristotle's point that human happiness is dependent upon one's grasp of reality.
Dodds, E.R. "On Misunderstanding the Oedipus Rex." Greece and Rome, vol. 13, 37-
Print.
Dodds asks, "In what sense, if in any, does the Oedipus Rex attempt to justify the ways of God to man?" (37). The fact that Sophocles' work tackles the question is important evidence that drama is worthy of serious study and capable of teaching profound truths. Thus, Dodds' essay validates Aristotle's argument for the inclusion of poetry in society.
Halliwell, Stephen. Aristotle's Poetics. IL: University of Chicago Press, 1998. Print.
This source is valuable because Halliwell expands upon idea that the Poetics is a response to the central idea of Plato's Republic -- which is the erection of a good society. The Poetics does more than simply assert that poetry is a "legitimate pleasure" (2). It argues that poetry is essential for any society to be good. Poetry, Aristotle argues further, is mimetic: that is, it is first and foremost a representation of reality -- not just a lyrical statement of facts or ideas. Poetry must above all reflect reality: and it is by that reflection that the audience learns.
Halliwell, Stephen. "Pleasure, Understanding, and Emotion in Aristotle's Poetics."
Essays on Aristotle's Poetcs. Ed. By Amelie Rorty. NJ: Princeton University Press, 1992, pp. 241-260. Print.
This source helps support Halliwell's Aristotle's Poetics. In it, Halliwell argues for the importance of Aristotle's Poetics (and drama in general) less from the standpoint of catharsis and more from the fact that human nature enjoys, learns, and feels through...
That is, Aristotle did not reject the notion of falsehood that Plato sees in mimesis and therefore in all poetry -- epic and tragic -- but instead accepts this falsehood and asserts that is not necessarily detrimental in and of itself. This is accomplished precisely by Aristotle's removal of poetics from the realm of philosophy. This move is not necessarily noticed in an explicit manner by modern scholars, many of
This reinvention has continued in every era since, including in the modern film adaptation of Richard the Third starring Ian McKellan. Set just prior to World War II and with Richard as a fascist dictator who often appears quasi-Naziish, this film version gives much darker political overtones to Richard's climb and eventual reign than appear in Shakespeare's text. Though this makes the depth of Richard's evil far more profound
" James a.S. McPeek further blames Jonson for this corruption: "No one can read this dainty song to Celia without feeling that Jonson is indecorous in putting it in the mouth of such a thoroughgoing scoundrel as Volpone." Shelburne asserts that the usual view of Jonson's use of the Catullan poem is distorted by an insufficient understanding of Catullus' carmina, which comes from critics' willingness to adhere to a conventional -- yet incorrect
Clinical Psychology Dissertation - Dream Content as a Therapeutic Approach: Ego Gratification vs. Repressed Feelings An Abstract of a Dissertation Dream Content as a Therapeutic Approach: Ego Gratification vs. Repressed Feelings This study sets out to determine how dreams can be used in a therapeutic environment to discuss feelings from a dream, and how the therapist should engage the patient to discuss them to reveal the relevance of those feelings, in their present,
G., the finding last year at Athens of the hand of Zeus of the east pediment)" the Parthenon continues to yield intellectual fruit through archeological excavation and discovery (Bruno xiv). As age replaces age with new speculations, scholars reappraise this epic piece of architecture, for "speculations of the eighteenth and nineteenth centuries are already mostly out of date, and original source materials are rare" (Bruno xiv). What historians do, as
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