No detailed description available for "Poetics / Poetyka / Poėtika, II".

Of all the writings on theory and aesthetics—ancient, medieval, or modern—the most important is indisputably Aristotle’s Poetics, the first philosophical treatise to propound a theory of literature. In the Poetics, Aristotle writes that he will speak of comedy—but there is no further mention of comedy. Aristotle writes also that he will address catharsis and an analysis of what is funny. But he does not actually address any of those ideas. The surviving Poetics is incomplete. Until today. Here, Walter Watson offers a new interpretation of the lost second book of Aristotle's Poetics. Based on Richard Janko’s philological reconstruction of the epitome, a summary first recovered in 1839 and hotly contested thereafter, Watson mounts a compelling philosophical argument that places the statements of this summary of the Aristotelian text in their true context. Watson renders lucid and complete explanations of Aristotle’s ideas about catharsis, comedy, and a summary account of the different types of poetry, ideas that influenced not only Cicero’s theory of the ridiculous, but also Freud’s theory of jokes, humor, and the comic. Finally, more than two millennia after it was first written, and after five hundred years of scrutiny, Aristotle’s Poetics is more complete than ever before. Here, at last, Aristotle’s lost second book is found again.

Salami presents, for instance, a critique of the self-conscious narrative of the diary form in The Collector, the intertextual relations of the multiplicity of voices, the problems of subjectivity, the reader's position, the politics of seduction, ideology, and history in The Magus and The French Lieutenant's Woman. The book also analyzes the ways in which Fowles uses and abuses the short-story genre, in which enigmas remain enigmatic and the author disappears to leave the characters free to construct their own texts. Salami centers, for example, on A Maggot, which embodies the postmodernist technique of dialogical narrative, the problem of narrativization of history, and the explicitly political critique of both past and present in terms of social and religious dissent. These political questions are also echoed in Fowles's nonfictional book The Aristos, in which he strongly rejects the totalization of narratives and the materialization of society.

The Poetics of Aristotle is the earliest surviving work of dramatic theory and first extant philosophical treatise to focus on literary theory. In it, Aristotle offers an account of what he calls "poetry". In this reflections Aristotle includes verse drama – comedy, tragedy, and the satyr play – as well as lyric poetry and epic poetry. The similarities and differences are being described in this work.

An analysis of the sustaining vitality behind contemporary American poetry from 1975 to the 2003, these 12 essays examine both exemplary innovators and the social context in which innovation is resisted, acclaimed, or taken for granted.

Taking its point of initiation from the long-standing dialogue between poetry and philosophy concerning their respective claims to contrasting orders of insight, this book tackles issues relating to the differing conditions of knowledge and insights relating to language and thought imparted by ‘modern’ poets and philosophers, from Kant and Wordsworth to Adorno and Hardy. The book draws on recent debates in literary theory and philosophy in order to outline a new ‘dialogic’ approach for conducting comparative criticism and literary history. The poets and the philosophers appear under configurations of reading that produce considerations that are unexpected, yet strangely fitting.

Male-male rivalry and female passive choice, the two principal tenets of Darwinian sexual selection, raise important ethical questions in The Descent of Man--and in the decades since--about the subjugation of women. If female choice is a key component of evolutionary success, what impact does the constraint of women's choices have on society? The elaborate courtship plots of 19th century Spanish novels, with their fixation on suitors and selectors, rivalry, and seduction, were attempts to grapple with the question of female agency in a patriarchal society. By reading Darwin through the lens of the Spanish realist novel and vice versa, Travis Landry brings new insights to our understanding of both: while Darwin's theories have often been seen as biologically deterministic, Landry asserts that Darwin's theory of sexual selection was characterized by an open ended dynamic whose oxymoronic emphasis on "passive" female choice carries the potential for revolutionary change in the status of women.