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Also, Tar n and Gutas never even recognize the Diotiman sense of \u003cem\u003epoiesis\u003c\/em\u003e that Aristotle uses, nor do they recognize the philosophical contradictions with keeping the \u003cem\u003ekatharsis\u003c\/em\u003e-clause.\u003c\/p\u003e\u003cp\u003eAll of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been a major part of the foundation of Western literary, dramatic and artistic theory.\u003c\/p\u003e\u003cp\u003eUPDATES \u0026amp; ERRATA: www.epspress.com\/ADMCupdates.html\u003c\/p\u003e\u003cp\u003eContents\u003c\/p\u003e\u003cp\u003eVolume 1 includes: Plato's meanings of \u003cem\u003epoiesis\u003c\/em\u003e as music-dance and verse and his use of \u003cem\u003erhuthmos\u003c\/em\u003e often not as rhythm but dance; the importance of dance in the state for Plato; Aristotle's agreement with his mentor on the meaning of the musical terms and the requirement of dance not only in the \u003cem\u003ePoetics\u003c\/em\u003e but in the \u003cem\u003ePolitics\u003c\/em\u003e, along with the proof that Aristotle considers tragedy to be a species of dramatic musical art, not literature. 364 pages. 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Also, Tar n and Gutas never even recognize the Diotiman sense of \u003cem\u003epoiesis\u003c\/em\u003e that Aristotle uses, nor do they recognize the philosophical contradictions with keeping the \u003cem\u003ekatharsis\u003c\/em\u003e-clause.\u003c\/p\u003e\u003cp\u003eAll of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been a major part of the foundation of Western literary, dramatic and artistic theory.\u003c\/p\u003e\u003cp\u003eUPDATES \u0026amp; ERRATA: www.epspress.com\/ADMCupdates.html\u003c\/p\u003e\u003cp\u003eContents\u003c\/p\u003e\u003cp\u003eVolume 1 includes: Plato's meanings of \u003cem\u003epoiesis\u003c\/em\u003e as music-dance and verse and his use of \u003cem\u003erhuthmos\u003c\/em\u003e often not as rhythm but dance; the importance of dance in the state for Plato; Aristotle's agreement with his mentor on the meaning of the musical terms and the requirement of dance not only in the \u003cem\u003ePoetics\u003c\/em\u003e but in the \u003cem\u003ePolitics\u003c\/em\u003e, along with the proof that Aristotle considers tragedy to be a species of dramatic musical art, not literature. 364 pages. 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Chapter 2 includes a revised version of Scott's \u003cem\u003eThe Poetics\u003c\/em\u003e of Performance (Cambridge University Press, 1999).\u003c\/p\u003e\u003cp\u003eThe book also supplements his arguments of Purging the \u003cem\u003ePoetics\u003c\/em\u003e (\u003cem\u003eOxford Studies in Ancient Philosophy\u003c\/em\u003e, 2003), reprinted here as Chapter 5, providing the additional reasons why Aristotle could not have written the clause with the words catharsis, pity, and fear in the definition of tragedy, as a number of internationally known ancient Greek specialists have already been accepting. As part of his reasons, Scott shows that, despite their recent, very admirable paleography, Leonardo Tar n and Dmitri Gutas too often mangle the philosophical interpretations and even some of the philology regarding the musical terms, especially when they try to sweep the problems of catharsis under the rug. Also, Tar n and Gutas never even recognize the Diotiman sense of \u003cem\u003epoiesis\u003c\/em\u003e that Aristotle uses, nor do they recognize the philosophical contradictions with keeping the \u003cem\u003ekatharsis\u003c\/em\u003e-clause.\u003c\/p\u003e\u003cp\u003eAll of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been a major part of the foundation of Western literary, dramatic and artistic theory.\u003c\/p\u003e\u003cp\u003eUPDATES \u0026amp; ERRATA: www.epspress.com\/ADMCupdates.html\u003c\/p\u003e\u003cp\u003eContents\u003c\/p\u003e\u003cp\u003eVolume 1 includes: Plato's meanings of \u003cem\u003epoiesis\u003c\/em\u003e as music-dance and verse and his use of \u003cem\u003erhuthmos\u003c\/em\u003e often not as rhythm but dance; the importance of dance in the state for Plato; Aristotle's agreement with his mentor on the meaning of the musical terms and the requirement of dance not only in the \u003cem\u003ePoetics\u003c\/em\u003e but in the \u003cem\u003ePolitics\u003c\/em\u003e, along with the proof that Aristotle considers tragedy to be a species of dramatic musical art, not literature.\u003c\/p\u003e\u003cp\u003eVolume 2 is available at: www.amazon.com\/dp\/099970494X\u003c\/p\u003e\u003cp\u003eIt includes the issues of catharsis, pity, and fear, and a complete rebuttal of the only attempted rigorous reply (by Stephen Halliwell in \u003cem\u003eBetween Ecstasy and Truth\u003c\/em\u003e, 2011) to Purging the Poetics. 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Scott demonstrates, however, that Aristotle (c. 384-322 BCE) employs \u003cem\u003epoiesis\u003c\/em\u003e not in the way universally assumed until now, as poetry, which the sophist Gorgias only coined in 415 BCE. Rather, Aristotle follows Diotima, who in the \u003cem\u003eSymposium\u003c\/em\u003e of Plato (c. 424-347) explains \u003cem\u003epoiesis\u003c\/em\u003e as \u003cem\u003emousike kai metra\u003c\/em\u003e (typically 'music' and verses but better music-dance and verses). One reason Aristotle employs the Diotiman and not the Gorgian sense of \u003cem\u003epoiesis\u003c\/em\u003e is that not one poem exists in the so-called \u003cem\u003ePoetics\u003c\/em\u003e; another reason is that the definition of tragedy includes music and dance (\u003cem\u003erhuthmos\u003c\/em\u003e).\u003c\/p\u003e\u003cp\u003eScott subsequently demonstrates that Aristotle considers tragedy not to be a species of literature but one of dramatic musical theater that also requires dance and spectacle. Chapter 2 includes a revised version of Scott's \u003cem\u003eThe Poetics\u003c\/em\u003e of Performance (Cambridge University Press, 1999).\u003c\/p\u003e\u003cp\u003eThe book also supplements his arguments of Purging the \u003cem\u003ePoetics\u003c\/em\u003e (\u003cem\u003eOxford Studies in Ancient Philosophy\u003c\/em\u003e, 2003), reprinted here as Chapter 5, providing the additional reasons why Aristotle could not have written the clause with the words catharsis, pity, and fear in the definition of tragedy, as a number of internationally known ancient Greek specialists have already been accepting. As part of his reasons, Scott shows that, despite their recent, very admirable paleography, Leonardo Tar n and Dmitri Gutas too often mangle the philosophical interpretations and even some of the philology regarding the musical terms, especially when they try to sweep the problems of catharsis under the rug. Also, Tar n and Gutas never even recognize the Diotiman sense of \u003cem\u003epoiesis\u003c\/em\u003e that Aristotle uses, nor do they recognize the philosophical contradictions with keeping the \u003cem\u003ekatharsis\u003c\/em\u003e-clause.\u003c\/p\u003e\u003cp\u003eAll of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been a major part of the foundation of Western literary, dramatic and artistic theory.\u003c\/p\u003e\u003cp\u003eUPDATES \u0026amp; ERRATA: www.epspress.com\/ADMCupdates.html\u003c\/p\u003e\u003cp\u003eContents\u003c\/p\u003e\u003cp\u003eVolume 1 includes: Plato's meanings of \u003cem\u003epoiesis\u003c\/em\u003e as music-dance and verse and his use of \u003cem\u003erhuthmos\u003c\/em\u003e often not as rhythm but dance; the importance of dance in the state for Plato; Aristotle's agreement with his mentor on the meaning of the musical terms and the requirement of dance not only in the \u003cem\u003ePoetics\u003c\/em\u003e but in the \u003cem\u003ePolitics\u003c\/em\u003e, along with the proof that Aristotle considers tragedy to be a species of dramatic musical art, not literature.\u003c\/p\u003e\u003cp\u003eVolume 2 is available at: www.amazon.com\/dp\/099970494X\u003c\/p\u003e\u003cp\u003eIt includes the issues of catharsis, pity, and fear, and a complete rebuttal of the only attempted rigorous reply (by Stephen Halliwell in \u003cem\u003eBetween Ecstasy and Truth\u003c\/em\u003e, 2011) to Purging the Poetics. This volume also contains: Aristotle's response to Plato without catharsis; comedy; whether or not the principles of musical dramatic theater can be applied to art forms like literature and cinema; the history of the \u003cem\u003ePoetics\u003c\/em\u003e with regards to the two fundamental misconceptions; Bibliography; and Index for both volumes. 300 pages. List: Hardcover $53; Softcover $39.\u003c\/p\u003e","brand":"WoB","offers":[{"title":"US \/ NEW \/ INGRAM","offer_id":53391098675473,"sku":"NIN9780999704929","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9780999704929.jpg?v=1775683535"}],"url":"https:\/\/www.worldofbooks.com\/en-au\/collections\/author-books-by-gregory-scott.oembed","provider":"World of Books ","version":"1.0","type":"link"}