Angela Curran

La "Poética" de Aristóteles es la primera investigación filosófica sobre una forma de arte y un texto fundacional de la historia de la estética. Es una de las obras de Aristóteles más ampliamente leídas y ha atraído el interés de un gran número de comentaristas filosóficos y literarios. El significado de sus ideas clave, especialmente el concepto de catarsis, ha sido objeto de acaloradas disputas y ha ejercido una enorme y prolongada influencia. Muchos autores han seguido las recomendaciones de Aristóteles sobre cómo construir la trama de una tragedia y numerosos críticos han hecho uso de sus ideas para valorar las distintas formas de arte dramático y, en general, narrativo. Este libro es una guía accesible que introduce y explica una obra que puede resultar a veces críptica, densa y difícil de entender. Su autora presenta y valora la "Poética" del estagirita a partir de algunos aspectos y conceptos fundamentales como: la vida de Aristóteles y sus escritos, los principios y conceptos básicos, la definición de tragedia, la filosofía, la poética y el conocimiento, la comedia y la épica, la "Poética" y la estética contemporánea.

My chapter aims to advance the debate on a problem often raised by philosophers who are skeptical of implied narrators in movies. This is the concern that positing such elusive narrators gives rise to absurd imaginings (Gaut 2004: 242; Carroll 2006: 179-180). Friends of the implied cinematic narrator reply that the questions critics raise about the workings of the implied cinematic narrator are "silly ones" to ask. I examine how the "absurd imaginings" problem arises for all the central arguments for the elusive cinematic narrator and discuss why the questions critics pose about this narrator are legitimate ones to ask.

Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for tragic plot patterns; catharsis ; epic and comedy; the nature of our emotional response to drama; the proper pleasure of tragedy; and the role that art plays in a human life the relevance of Aristotle’s work in metaphysics, epistemology, ethics and philosophical psychology to the Poetics a comparison of Plato and Aristotle on the value of mimetic art the continuing importance of Aristotle’s Poetics to contemporary philosophy, aesthetics, and philosophy of film

Scholars agree that Aristotle held a view that has been called "Aristotelian Essentialism" , but disagree about what this thesis entails. I reconstruct as the view that there are certain individuals, namely substances, that have essences, and that essences are to be understood as "explanatorily basic" features of an individual--features of an individual substance that serve as part of a scientific explanation of the presence of other features of that individual, but are not themselves explained in this way. When Aristotle's view is understood in this way, interesting differences and parallels between him and contemporary essentialists emerge. For one, so-called "properties of origin" such as "being born to George and Barbara Bush" are not essential to the individual that has them, on Aristotle's view. Furthermore, understanding Aristotle's view in this way explains why essences are not, as it has often been maintained, merely "career attributes"--properties that an individual has necessarily and at each moment at which it exists. I argue that for Aristotle, essences belong to an individual in virtue of the species to which it belongs, and that Aristotle subscribes to the "species-form" view of essence. I examine and respond to arguments to the contrary that, in both the Metaphysics and the Generation of Animals, Aristotle holds that the essence of an individual substance is an "individual form" unique to that thing, and not shared by any other individual. Aristotle's account of family resemblances, in particular, has been thought by many to present problems for understanding Aristotle's essentialism. In that text it looks like Aristotle gives up on the view that only certain features--the ones that define the species--are essential to an individual when he attempts to explain the phenomena of family resemblance. I conclude with a sketch of a reading of this text that shows Aristotle holding an account of family resemblances that is consistent with the view that only certain features--the explanatorily basic ones--are part of the essences of individual substances

Organized around a series of philosophic questions about film,The Philosophy of Film: Introductory Text and Readingsoffers an accessible and engaging overview of the discipline. Provides thorough selection of readings drawn from philosophy,film studies, and film criticism Multiple points of view highlighted in discussion of filmtheory, narration, authorship, film and emotion, and the socialvalues of cinema Presents thought-provoking reading questions as well as clearand helpful introductions for each section More information about this text along with further resourcesare available from the accompanying website at:http://www.mtholyoke.edu/omc/phil-film/index.html

This paper focuses on the debate over two central claims regarding cinematic narration: the claim that there are implicit cinematic narrators and the thesis that when we watch movies, we imagine seeing the events and characters in the film fiction. I examine what a consideration of the indeterminate nature of fictional narration, that is, what is specified by the fiction about how we come to imagine the story events, can contribute to the debate on these issues. It is argued that consideration of fictional indeterminacy can be used to show that positing an implicit cinematic narrator is not only unnecessary, but is also incompatible with appreciating the film fiction. While the opposite result is reached regarding the claim about imagined seeing: considerations of indeterminacy suggest that we can suppose, without absurdities, that audiences at the movies sometimes engage in imagined seeing.