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Four causes. Aristotle 's Four Causes illustrated for a table: material (wood), formal (structure), efficient (carpentry), final (dining). The four causes or four explanations are, in Aristotelian thought, four fundamental types of answer to the question "why?" in analysis of change or movement in nature: the material, the formal, the efficient ...
Mythos [from Ancient Greek μῦθος mûthos] is the term used by Aristotle in his Poetics (c. 335 BCE) to mean an Athenian tragedy's plot as a "representation of an action" [1] or "the arrangement of the incidents" [2] that "represents the action". [3] Aristotle distinguishes plot from praxis – which are the actions the plots represent. [4]
Unmoved mover. The unmoved mover (Ancient Greek: ὃ οὐ κινούμενον κινεῖ, romanized: ho ou kinoúmenon kineî, lit. 'that which moves without being moved') [1] or prime mover (Latin: primum movens) is a concept advanced by Aristotle as a primary cause (or first uncaused cause) [2] or "mover" of all the motion in the universe. [3]
The classical unities, Aristotelian unities, or three unities represent a prescriptive theory of dramatic tragedy that was introduced in Italy in the 16th century and was influential for three centuries. The three unities are: unity of action: a tragedy should have one principal action. unity of time: the action in a tragedy should occur over a ...
Metabasis paradox. The metabasis paradox is an instance in the received text of Aristotle 's Poetics where, according to many scholars, [1][2][3][4][5] he makes two incompatible statements. In chapter 13 of the book, Aristotle states that for tragedy to end in misfortune is "correct," [6] yet in chapter 14 he judges a kind of tragedy "best" [7 ...
Aristotle. Aristotle[A] (Greek: Ἀριστοτέλης Aristotélēs; [B] 384–322 BC) was an Ancient Greek philosopher and polymath. His writings cover a broad range of subjects spanning the natural sciences, philosophy, linguistics, economics, politics, psychology, and the arts.
The active intellect was a concept Aristotle described that requires an understanding of the actuality-potentiality dichotomy. Aristotle described this in his De Anima (book 3, ch. 5, 430a10-25) and covered similar ground in his Metaphysics (book 12, ch.7-10).
Aristotle says that peripeteia is the most powerful part of a plot in a tragedy along with discovery. A peripety is the change of the kind described from one state of things within the play to its opposite, and that too in the way we are saying, in the probable or necessary sequence of events.