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Aristotle poetry history
Aristotle poetry history
Comparative Aristotle and Plato views on the theory of poetry
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MÍMESIS
Imitación, Representación
Originalmente, la literatura surgió como una necesidad de, aparte de entretener, formar y enseñar a los hombres con el objeto de lograr un mundo ideal según como lo consideraban los autores; Para este fin se nutría de algunas formas literarias, como lo son: la tragedia, la epopeya, la poesía, etc. Y éstas, a su vez, conseguían su objetivo apoyándose en la imitación de la realidad, a través de la representación literaria o, lo que es lo mismo, mimesis. Ésta consistía básicamente en imitar las acciones humanas, pero no cualquier acción, sino la que permita sacar alguna enseñanza de ella.
Se comenzó a hablar de mimesis en la república de Platón, concepto que sería tomado posteriormente por Aristóteles en la poética.
Según Aristóteles, la mimesis estaba presente en todo lo que él llamaba especies, llámese epopeya, tragedia, comedia, ditirambo; especies que utilizaban como medio de imitación el lenguaje y que estas especies se diferenciaban entre sí por las formas de imitar: imitación con medios diversos, imitación de objetos diversos, y por imitarlos diversamente y no del mismo modo. Afirma además, contra la opinión vulgar, que no es poeta el que compone versos, sino el que es imitador mediante el lenguaje y que el poeta no imita directamente a los hombres, sino sus acciones. la voz por sí sola, sin constituir palabras, puede ser medio de imitación...."la voz es el recurso más eficaz que tenemos para la imitación."
Cada especie de la poética tiene potencia, fuerza o capacidad para producir un efecto propio, potencia de terminar una cosa bien o según designio. Introdujo el término "catarsis", que correspondía al momento en que se purificaban las pasiones y el espectador sentía empatía compasión por el personaje (había una reacción en el espectador). A la vez, cada especie se compone de argumentos llamados fábulas que corresponden a un conjunto de sucesos o momentos esenciales de la acción imitada.
Existen dos formas de imitar, a través de la narración o presentando a todos los imitados como operantes y actuantes. Dentro de estas formas de imitación hay 3 diferencias: los medios, los objetos y el modo de imitarlos.
Plantea que el origen y desarrollo de la poesía tiene dos causas, ambas naturales:
Por naturaleza el hombre imita: para adquirir sus primeros conocimientos (por imitación) y para hacer disfrutar a los demás con una imitación.
Para aprender, porque viendo las imágenes aprenden y deducen qué es cada cosa.
Plantea que la poesía se dividió según los caracteres particulares: los más grandes imitaban acciones nobles y la de hombres de calidad superior (poetas de versos heroicos) y los más vulgares, las de hombres inferiores (yambos).
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A crítica psicanalítica, em outras palavras, pode ir além da caça aos símbolos fálicos; ela nos pode dizer alguma coisa sobre a maneira pela qual os textos literários se formam, e revelar alguma coisa sobre o significado dessa formação. EAGLETON (1994: 192)
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For Plato, there are three key objections to imitation (mimesis) which are demonstrated in books II and III, and then again in book X of The Republic. Plato believes that all art is imitative of life and in book II, he begins to explain what he considers to be the ideal way for a human to live, which involves living a life of reason and righteousness with guardians to protect us. These guardians are required to be good, honest and fair and therefore all children should be educated and trained with these qualities, to prepare them as our future guardians. Plato’s first objection to imitation (mimesis) is from the point of view of Theology and Education. He sugges...