Ebook The Soul of Poetry Redefined : Vacillations of Mimesis from Aristotle to Romanticism by Mats Malm PDF, DJV, FB2
9788763537421 English 8763537427 What is the soul of poetry? Perhaps the most influential answer comes from Aristotle's Poetics , in which the writer regarded poetry as an instance of mimesis, a kind of representation or simulation. However, despite the significance he gave the term, Aristotle's use of the word mimesis was far from unequivocal, and over the centuries that have followed this inconsistency has stimulated a wealth of interpretations and debate. Tracking Poetics from its birth in rhetorical studies to its reception across the centuries until romanticism, Mats Malm here examines the many different ways scholarsfrom Averro�s to Schlegelhave understood mimesis, looking at how these various interpretations have led to very different definitions of the soul of poetry., What is the soul of poetry? The most influential answer was probably given in Aristotle's Poetics, but even within that tradition which claimed the authority of Aristotle, the answers have differed widely. To Aristotle, the soul of poetry was one instance of mimesis, namely that construction of plot which he called mimesis of action, or muthos. However, in the Poetics alone, mimesis is used in several different meanings, and Aristotle does not distinguish clearly between them. The tremendous influence of his Poetics and the concept of mimesis may in fact be due to its elusiveness. Through tradition, it has been interpreted in many ways and translated into a number of terms, which do not always seem to have very much in common. This study is an attempt to clarify the Aristotelian tradition by demonstrating how interpretations of Aristotle's Poetics have vacillated between two particularly dominating instances of mimesis. The vocabulary may be the same, but the definition of the soul of poetry may differ substantially depending on which instance dominates. The study begins with an analysis of Aristotle's Poetics from a rhetorical point of view, as Aristotle developed his poetological categories inspired by those of rhetoric, and all interpretations of the Poetics up until the 18th century have been made from a rhetorical understanding of literature. Subsequent chapters then study exemplary reinterpretations of the soul of poetry within the Aristotelian tradition, beginning with Averro�s, whose Arabic commentary was translated into Latin in the 13th century and for a long time was considered tantamount to Aristotle himself, receptions in the Italian Renaissance, French classicism and the influential launch of the "Fine Arts" by Charles Batteux in the 18th century, and his German counterparts. Three concluding chapters apply the perspective on issues concerning the aesthetics of the sublime, the symbol, and the role of emotions in the system of genres., What is the soul of poetry? The most influential answer was probably suggested by Aristotle, who in his Poetics regarded a particular instance of mimesis as constituting the soul of poetry: the construction of plot which he called mimesis of action, or muthos. However, he used mimesis in several different meanings without distinguishing clearly between them, and through tradition it has been interpreted in many ways and translated into a number of terms which do not always seem to have very much in common. The tremendous influence of his Poetics and the concept of mimesis may in fact be due to this elusiveness. This study sheds new light on the notion of mimesis in the Aristotelian tradition by demonstrating how interpretations of Aristotle's Poetics have Vacillated between two particularly dominating instances of mimesis, what the author labels mimesis-composition and mimesis-representation. The vocabulary may be the same, but the definition of the soul of poetry may differ substantially depending on which instance dominates at any given time. Since Aristotle's poetological categories were inspired by those of rhetoric, the study begins with an analysis of Aristotle's Poetics from a rhetorical point of view. Subsequent chapters then study exemplary reinterpretations of the soul of poetry within the Aristotelian tradition, from Averroës and receptions in the Italian Renaissance and French classicism to the influential launch of the "fine arts" by Charles Batteux and reactions of his German counterparts, such as J.A. Schlegel, in the 18th century. Concluding chapters apply the perspective on issues concerning the aesthetics of the sublime, the symbol and the role of emotions in the system of genres. The Soul of Poetry Redefined is a significant contribution to, as well as continuation of, one of the most prevalent debates within the reception history of Aristotle's Poetics. It is important reading for anyone interested in tracing the influential concept of mimesis and its variegated - and often enriching - permutations, from Aristotle to the romantic period. Book jacket.
9788763537421 English 8763537427 What is the soul of poetry? Perhaps the most influential answer comes from Aristotle's Poetics , in which the writer regarded poetry as an instance of mimesis, a kind of representation or simulation. However, despite the significance he gave the term, Aristotle's use of the word mimesis was far from unequivocal, and over the centuries that have followed this inconsistency has stimulated a wealth of interpretations and debate. Tracking Poetics from its birth in rhetorical studies to its reception across the centuries until romanticism, Mats Malm here examines the many different ways scholarsfrom Averro�s to Schlegelhave understood mimesis, looking at how these various interpretations have led to very different definitions of the soul of poetry., What is the soul of poetry? The most influential answer was probably given in Aristotle's Poetics, but even within that tradition which claimed the authority of Aristotle, the answers have differed widely. To Aristotle, the soul of poetry was one instance of mimesis, namely that construction of plot which he called mimesis of action, or muthos. However, in the Poetics alone, mimesis is used in several different meanings, and Aristotle does not distinguish clearly between them. The tremendous influence of his Poetics and the concept of mimesis may in fact be due to its elusiveness. Through tradition, it has been interpreted in many ways and translated into a number of terms, which do not always seem to have very much in common. This study is an attempt to clarify the Aristotelian tradition by demonstrating how interpretations of Aristotle's Poetics have vacillated between two particularly dominating instances of mimesis. The vocabulary may be the same, but the definition of the soul of poetry may differ substantially depending on which instance dominates. The study begins with an analysis of Aristotle's Poetics from a rhetorical point of view, as Aristotle developed his poetological categories inspired by those of rhetoric, and all interpretations of the Poetics up until the 18th century have been made from a rhetorical understanding of literature. Subsequent chapters then study exemplary reinterpretations of the soul of poetry within the Aristotelian tradition, beginning with Averro�s, whose Arabic commentary was translated into Latin in the 13th century and for a long time was considered tantamount to Aristotle himself, receptions in the Italian Renaissance, French classicism and the influential launch of the "Fine Arts" by Charles Batteux in the 18th century, and his German counterparts. Three concluding chapters apply the perspective on issues concerning the aesthetics of the sublime, the symbol, and the role of emotions in the system of genres., What is the soul of poetry? The most influential answer was probably suggested by Aristotle, who in his Poetics regarded a particular instance of mimesis as constituting the soul of poetry: the construction of plot which he called mimesis of action, or muthos. However, he used mimesis in several different meanings without distinguishing clearly between them, and through tradition it has been interpreted in many ways and translated into a number of terms which do not always seem to have very much in common. The tremendous influence of his Poetics and the concept of mimesis may in fact be due to this elusiveness. This study sheds new light on the notion of mimesis in the Aristotelian tradition by demonstrating how interpretations of Aristotle's Poetics have Vacillated between two particularly dominating instances of mimesis, what the author labels mimesis-composition and mimesis-representation. The vocabulary may be the same, but the definition of the soul of poetry may differ substantially depending on which instance dominates at any given time. Since Aristotle's poetological categories were inspired by those of rhetoric, the study begins with an analysis of Aristotle's Poetics from a rhetorical point of view. Subsequent chapters then study exemplary reinterpretations of the soul of poetry within the Aristotelian tradition, from Averroës and receptions in the Italian Renaissance and French classicism to the influential launch of the "fine arts" by Charles Batteux and reactions of his German counterparts, such as J.A. Schlegel, in the 18th century. Concluding chapters apply the perspective on issues concerning the aesthetics of the sublime, the symbol and the role of emotions in the system of genres. The Soul of Poetry Redefined is a significant contribution to, as well as continuation of, one of the most prevalent debates within the reception history of Aristotle's Poetics. It is important reading for anyone interested in tracing the influential concept of mimesis and its variegated - and often enriching - permutations, from Aristotle to the romantic period. Book jacket.