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a story of triumph which satisfies the moral sense but ignores the excitement of fear and pity altogether. To follow a villain from prosperity to adversity will undoubtedly satisfy the moral sense, but it once again ignores the tragic qualities of fear and pity. On the other hand, a villain going from adversity to prosperity possesses no tragic qualities at all, neither satisfying the moral sense nor exciting fear and pity.
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particulars, whose relation to one another is marked by contingency, accident, or chance. Contrariwise, poetic narratives are determined objects, unified by a plot whose logic binds up the constituent elements by necessity and probability. In this sense, he concluded, such poetry was more philosophical than history was in so far as it approximates to a knowledge of
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539:"consistently inconsistent"—if a character always behaves foolishly it is strange if he suddenly becomes intelligent. In this case it would be good to explain such the cause of such a change, otherwise the audience may be confused. If a character changes their opinion a lot it should be made clear that this is a trait of the character.
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One may imitate the agents through use of a narrator throughout, or only occasionally (using direct speech in parts and a narrator in parts, as Homer does), or only through direct speech (without a narrator), using actors to speak the lines directly. This latter is the method of tragedy (and comedy):
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consistent—as the actions of a character should follow the Law of
Probability and Necessity, they must be written to be internally consistent. When applied, the Law of Probability and Necessity defines it as necessary for a character to react and as probable for them to react in a certain way. To be
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good— a character must be between the two extremes of morality, they must simply be good. A character should not be on either of the moral extremities. To follow a character of virtue from prosperity to adversity merely serves to shock the audience; yet to follow them from adversity to prosperity is
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Tragedy as artistically superior to epic poetry: Tragedy has everything that the epic has, even the epic meter being admissible. The reality of presentation is felt in the play as read, as well as in the play as acted. The tragic imitation requires less time for the attainment of its end. If it has
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In
Butcher's translation, this passage reads: "Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play, in the form of action, not of
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Refers to the "organization of incidents". It should imitate an action that evokes pity and fear. The plot involves a change from bad towards good, or good towards bad. Complex plots have reversals and recognitions. These and suffering (or violence) evoke the tragic emotions. The most tragic plot
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Aristotle also draws a famous distinction between the tragic mode of poetry and the type of history-writing practiced among the Greeks. Whereas history deals with things that took place in the past, tragedy concerns itself with what might occur, or could be imagined to happen. History deals with
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Aristotle defines a tragedy as entertaining by satisfying the moral sense and imitating actions which “excite pity and fear”. The success of a tragedy in calling forth these qualities is revealed through the moral character of the agents, which is revealed through the actions and choices of the
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Actions should follow logically from the situation created by what has happened before, and from the character of the agent. This goes for recognitions and reversals as well, as even surprises are more satisfying to the audience if they afterwards are seen as a plausible or necessary
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makes use of language alone, the playing of the lyre involves rhythm and melody. Some poetic forms include a blending of all materials; for example, Greek tragic drama included a singing chorus, and so music and language were all part of the performance. These points also convey
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more concentrated effect, it is more pleasurable than one with a large admixture of time to dilute it. There is less unity in the imitation of the epic poets (plurality of actions) and this is proved by the fact that an epic poem can supply enough material for several tragedies.
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in the definition (language) has no followup: mythos (plot) could be done by dancers or pantomime artists, given chapters 1, 2, and 4, if the actions are structured (on stage, as drama was usually done), just like plot for us can be given in film or in a story-ballet with no
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that populate either form. Aristotle finds that tragedy deals with serious, important, and virtuous people. Comedy, on the other hand, treats of less virtuous people and focuses on human "weaknesses and foibles". Aristotle introduces here the influential
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Recent scholarship has challenged whether
Aristotle focuses on literary theory per se (given that not one poem exists in the treatise) or whether he focuses instead on dramatic musical theory that only has language as one of the elements.
484:). Plots revolving around such a mistake are more tragic than plots with two sides and an opposite outcome for the good and the bad. Violent situations are most tragic if they are between friends and family. Threats can be resolved
586:)—"Melos" can also mean "music-dance", especially given that its primary meaning in ancient Greek is "limb" (an arm or a leg). This is arguably more sensible because then Aristotle is conveying what the chorus actually did.
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The Chorus should be written as one of the actors. As such, It should be an integral part of the whole: taking a share in the action and contributing to the unity of the plot. It is a factor in the pleasure of the
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By "embellished speech", I mean that which has rhythm and melody, i.e. song. By "with its elements separately", I mean that some are accomplished only by means of spoken verses, and others again by means of song.
369:, which was played in the drama while the kithara-player was dancing (in the chorus), even if that meant just walking in an appropriate way. Moreover, epic might have had only literary exponents, but as Plato's
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must occur within the plot. Narratives, stories, structures, and poetics overlap. It is important for the poet to visualize all of the scenes when creating the plot. The poet should incorporate complication and
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was translated from a Greek manuscript dated to some time prior to the year 700. This manuscript, translated from Greek to Syriac, is independent of the currently-accepted 11th-century source designated
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agent. In a perfect tragedy, the character will support the plot, which means personal motivations and traits will somehow connect parts of the cause-and-effect chain of actions producing pity and fear.
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For example: if the play has "beautiful" costumes and "bad" acting and "bad" story, there is "something wrong" with it. Even though that "beauty" may save the play it is "not a nice thing".
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help prove, for Plato and
Aristotle at least some epic rhapsodes used all three means of mimesis: language, dance (as pantomimic gesture), and music (if only by chanting the words).
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Refers to the visual apparatus of the play, including set, costumes, and props (anything you can see). Aristotle calls spectacle the "least artistic" element of tragedy, and the
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or "imitation", "representation," or "expression," given that, e.g., music is a form of mimesis, and often there is no music in the real world to be "imitated" or "represented."
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and how a character's spoken words express a specific idea. Aristotle believed that all of these different elements had to be present in order for the poetry to be well-done.
705:. Many of these interpretations sought to use Aristotelian theory to impose morality on the Arabic poetic tradition. In particular, Averroes added a moral dimension to the
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Refers to the quality of speech in tragedy. Speeches should reflect character: the moral qualities of those on the stage. The expression of the meaning of the words.
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of a serious, complete action which has magnitude, in embellished speech, with each of its elements separately in the parts and by people acting and not by
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This text is available online in an older translation, in which the same passage reads: "At any rate it originated in improvisation—both tragedy itself and
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experienced by fear and pity should be produced in the spectator. The characters must be four things: good, appropriate, realistic, and consistent.
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Lord, C., "Aristotle's
History of Poetry", Transactions and Proceedings of the American Philological Association 104 (1974) 195–228
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II, 665a: "(the name of) ordered body movement," or dance. This correctly conveys what dramatic musical creation, the topic of the
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here as "rhythm" is absurd: melody already has its own inherent musical rhythm, and the Greek can mean what Plato says it means in
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by being done in knowledge, done in ignorance and then discovered, or almost done in ignorance but discovered at the last moment.
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critical tradition, "almost every detail about his seminal work has aroused divergent opinions." Of scholarly debates on the
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truly realistic, these reactions must be true and expected for the character. As such, they must be internally consistent.
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Destrée, Pierre, "Aristotle on the Power of Music in
Tragedy," Greek & Roman Musical Studies, Vol. 4, Issue 2, 2016
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Aristotle: Poetics, with
Tractatus Coislinianus, Reconstruction of Poetics II, and the Fragments of the On the Poets
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appropriate—if a character is supposed to be wise, it is unlikely he is young (supposing wisdom is gained with age).
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and epic (as a quasi-dramatic art, given its definition in Ch. 23)—survives. The lost second part addressed
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Aristotle on
Dramatic Musical Composition The Real Role of Literature, Catharsis, Music and Dance in the Poetics
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by interpreting tragedy as the art of praise and comedy as the art of blame. Averroes' interpretation of the
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Murnaghan, Sheila (Autumn 1995). "Sucking the Juice without Biting the Rind: Aristotle and Tragic Mimēsis".
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Definition of a tragedy, and the rules for its construction. Definition and analysis into qualitative parts.
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Carli, Silvia (December 2010). "Poetry is more philosophical than history: Aristotle on mimesis and form".
1239:. Translated by Apostle, Hippocrates G.; Dobbs, Elizabeth A.; Parslow, Morris A. Thomas More College Press.
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Having examined briefly the field of "poetry" in general, Aristotle proceeds to his definition of tragedy:
290:. The poet must express thought through the characters' words and actions, while paying close attention to
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Tractatus Coislinianus: reconstruction of Poetics II, and the Fragments of the On the Poets
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727:'s 1498 Latin translation of Aristotle's text (the first to be published) was included with the 1508
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and it initiated a misinterpretation of
Aristotelian thought that continued through the Middle Ages.
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This article is about the treatise by Aristotle. For the theory of literary forms and discourse, see
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Preliminary discourse on tragedy, epic poetry, and comedy, as the chief forms of imitative poetry.
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is available on the website of Bibliothèque nationale de France (National Library of France):
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408:: superior (βελτίονας) to the audience, inferior (χείρονας), or at the same level (τοιούτους).
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Fendt, Gene (2019). "Aristotle on Dramatic Musical Composition. By Gregory Scott (Review)".
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Fendt, Gene (2019). "Aristotle on Dramatic Musical Composition. By Gregory Scott (Review)".
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Schütrumpf, E., "Traditional Elements in the Concept of Hamartia in Aristotle's Poetics",
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Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present
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Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present
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source used for the Arabic translations departed widely in vocabulary from the original
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in 1278 was virtually ignored. At some point during antiquity, the original text of the
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Katharsiskonzeptionen vor Aristoteles: zum kulturellen Hintergrund des Tragödiensatzes
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He offers the earliest-surviving explanation for the origins of tragedy and comedy:
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Phalloslied und Dithyrambos. Aristoteles über den Ursprung des griechischen Dramas
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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1186:(in French). Translated by Dupont-Roe, Roselyne; Lallot, Jean. Éditions du Seuil.
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Die aristotelische Katharsis. Dokumente ihrer Deutung im 19. und 20. Jahrhundert
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Tsitsiridis, S., "Mimesis and Understanding. An Interpretation of Aristotle's
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Battin, M. Pabst (1974). "Aristotle's Definition of Tragedy in the Poetics".
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pushes a good character towards undeserved misfortune because of a mistake (
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or "plot," defined in Chapter 6 explicitly as the "structure of actions."
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1281:. Translated by Benardete, Seth; Davis, Michael. St. Augustine's Press.
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391:(Also "agents" in some translations.) Aristotle differentiates between
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Destrée, Pierre (2016). "Aristotle on the Power of Music in Tragedy".
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Ezzaher, Lahcen E. (2013). "Arabic Rhetoric". In Enos, Theresa (ed.).
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A History of Literary Criticism and Theory: From Plato to the Present
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Deskriptive und normative Bestimmungen in der Poetik des Aristoteles
1019:(in French). Translated by Hardy, Joseph. Paris: Les Belles Lettres.
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The scholars who published significant commentaries on Aristotle's
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beginning (both tragedy and comedy—tragedy from the leaders of the
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Possible criticisms of an epic or tragedy, and the answers to them.
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1837:. Translated by Bywater, Ingrid. Modern Library. pp. 1453–87.
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871:, or "melody"; also "music-dance" (melos meaning primarily "limb")
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344:, for Aristotle, make up the matter of poetic creation. Where the
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only through a Latin translation of an Arabic version written by
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Aristotle's Poetics, c. xxv, Ιn the Light of the Homeric Scholia
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or "miscalculation" (understood in Romanticism as "tragic flaw")
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throughout the work by distinguishing between the nature of the
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Solmsen, F., "The Origins and Methods of Aristotle's Poetics",
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Aristotle's poetic theories as the sole key to approaching the
155:, four have been most prominent. These include the meanings of
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Aesthetic Enjoyment: Its Background in Philosophy and Medicine
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which even now continue as a custom in many of our cities)...
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was divided in two, each "book" written on a separate roll of
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2686:(1536-1596) in a critical edition (parallel Greek and Latin)
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Medieval Literary Criticism: Translations and Interpretations
2046:
Medieval Literary Criticism: Translations and Interpretations
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Moles, John (1979). "Notes on Aristotle, Poetics 13 and 14".
1318:. Mnemosyne Supplements. Vol. 338. Leiden/Boston: Brill.
1058:. Ἑλληνική Βιβλιοθήκη (in Greek). Vol. 2. Translated by
273:
Rules for the construction of a tragedy: Tragic pleasure, or
89:
83:
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The Aesthetics of Mimesis. Ancient Texts and Modern Problems
1359:. Translated by Freeman, Philip. Princeton University Press.
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within the story, as well as combine all of the elements of
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Tragedy: Serious Drama in Relation to Aristotle's "Poetics"
1114:. The Library of Liberal Arts. Vol. 68. Translated by
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or, variously, "purgation", "purification", "clarification"
2255:
Downing, E., "oἷον ψυχή: An Εssay on Aristotle's muthos",
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Aristotle (1997). Baxter, John; Atherton, Patrick (eds.).
1154:. Translated by Golden, Leon. University Press of Florida.
717:, where it reflected the "prevailing notions of poetry"
616:"least connected with the work of the poet (playwright).
126:
Differences in music rhythm, harmony, meter, and melody.
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Aristotle (2001). "Poetics". In McKeon, Richard (ed.).
1379:
narrative; through pity and fear effecting the proper
3520:
The Work of Art in the Age of Mechanical Reproduction
2227:. Expanded ed. Ithaca and London: Cornell UP (1993).
147:
Although the text is universally acknowledged in the
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which still survive as institutions in many cities."
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2342:"The Universality of Poetry in Aristotle's Poetics"
1775:Kennedy, George Alexander; Norton, Glyn P. (1999).
140:is primarily concerned with drama; the analysis of
4203:On Youth, Old Age, Life and Death, and Respiration
2462:Entstehung und Geschichte von Aristoteles 'Poetik'
2243:Dramatic Theory and Criticism: Greeks to Grotowski
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1469:. Florence, Ky.: Heinle & Heinle. p. 31.
1467:Dramatic Theory and Criticism: Greeks to Grotowski
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1252:. Translated by Heath, Malcolm. London: Penguin.
247:summarises the contents of the lost second book.
94:. Aristotle divides the art of poetry into verse
1505:. Translated by Janko, Richard. London: Hackett.
1314:Aristotle (2012). Tarán, L.; Goutas, D. (eds.).
2278:(1). Philosophy Documentation Center: 248–252.
2183:Tragic Pleasures: Aristotle on Plot and Emotion
1994:(1). Philosophy Documentation Center: 248–252.
1712:. Univ of South Carolina Press. pp. 31ff.
353:. Recent work, though, argues that translating
1290:. Translated by Sachs, Joe. Focus Publishing.
263:(2001) identifies five basic parts within it.
82:. In this text Aristotle offers an account of
3701:
2725:
2477:. London: Hogarth (1957). New York: Collier.
1809:The Lost Second Book of Aristotle's "Poetics"
731:printing of the Greek original as part of an
8:
3450:The Literary Mind and the Carving of Dragons
2245:. Florence, KY: Heinle & Heinle (1974).
1912:. University of Chicago Press. p. 270.
1876:
1874:
1348:Untying Aristotle's Poetics for Storytellers
934:Revised 2nd edition, in two volumes (1812):
233:. Only the first part—that which focuses on
167:, and the question why Aristotle appears to
2429:, (Klassiker auslegen, Band 38) Berlin 2009
1778:The Cambridge History of Literary Criticism
1531:The Journal of Aesthetics and Art Criticism
1305:Aristotle (2008). Schmitt, Arbogast (ed.).
457:He then identifies the "parts" of tragedy:
4547:
4476:
4456:
4405:
4328:
3970:
3708:
3694:
3686:
2732:
2718:
2710:
2553:Aristotle on the Function of Tragic Poetry
2057:
2055:
1936:Aristotle on the function of tragic poetry
1770:
1768:
1766:
1708:Logos and Power in Isocrates and Aristotle
1689:. University of Chicago Press. p. 3.
1042:: CS1 maint: location missing publisher (
963:: CS1 maint: location missing publisher (
70:) is the earliest surviving work of Greek
2204:Aristotle's Theory of Poetry and Fine Art
1973:. New Jersey: Princeton University Press.
1883:Aristotle on Dramatic Musical Composition
1686:Aristotle's Rhetoric: An Art of Character
1496:
1494:
1492:
1490:
1488:
1486:
1350:. Translated by Myrland, Rune. Storyknot.
1327:. Oxford World's Classics. Translated by
129:Difference of goodness in the characters.
67:
2548:, Calcutta: University of Calcutta, 1966
2448:La poetica di Aristotele e la sua storia
2185:. Princeton, N.J.: Princeton UP (1992).
2065:Encyclopedia of Rhetoric and Composition
2044:Hardison, O. B. Jr. (1987). "Averroes".
1576:. Cornell University Press. p. 16.
1150:Aristotle (1968). Hardison, O.B. (ed.).
144:constitutes the core of the discussion.
1437:
1371:
118:. The genres all share the function of
2604:Vöhler, M. – Seidensticker B. (edd.),
2518:Harvard Studies in Classical Philology
2504:Linguistica e stilistica di Aristotele
1939:. Crete University Press. p. 50.
1203:. University of North Carolina Press.
1035:
956:
916:Editions – commentaries – translations
2541:, Calcutta: Syamaprasad College, 2001
2403:Hardison, O. B., Jr., "Averroes", in
1309:(in German). Berlin: Akademie Verlag.
1135:(in Latin). Oxford University Press.
636:, and comedy from the leaders of the
441:, accomplishing by means of pity and
7:
4257:On Melissus, Xenophanes, and Gorgias
1881:Scott, Gregory L (10 October 2018).
781:The lost second book of Aristotle's
763:, re-presented to the world of post-
318:Aristotle distinguishes between the
171:himself between chapters 13 and 14.
2678:Internet Encyclopedia of Philosophy
1010:(in Italian). Torino: G. Chiantori.
373:and Aristotle's Ch. 26 of the
241:. Some scholars speculate that the
78:philosophical treatise to focus on
4618:Transmission of the Greek Classics
2367:"Cognition in Aristotle's Poetics"
1271:. McGill-Queen's University Press.
809:or "recognition", "identification"
665:The Arabic version of Aristotle's
255:The table of contents page of the
14:
4292:The Situations and Names of Winds
2638:: Perseus Digital Library edition
2153:Greek & Roman Musical Studies
1933:Sifakis, Gregory Michael (2001).
1089:Aristotle's Poetics: The Argument
406:tripartite division of characters
4678:
4668:
4667:
3668:
2499:, Hildesheim/Zürich/N. York 1991
2407:. New York: Ungar (1987), 81–88.
2218:Recognitions. A Study in Poetics
4711:Non-fiction books about theatre
4198:On Length and Shortness of Life
2692:Analysis and discussion in the
2662:Seven parallel translations of
2599:Beiträge zu Aristoteles' Poetik
2509:Rorty, Amélie Oksenberg (ed.),
1868:Esp. pp. 303–304, 312–313.
1812:. University of Chicago Press.
3788:Correspondence theory of truth
2441:On Aristotle and Greek Tragedy
2048:. New York: Ungar. p. 81.
1704:Haskins, Ekaterina V. (2004).
1450:. Vol. XI. Translated by
925:Aristotle's Treatise on Poetry
525:The main character should be:
1:
4134:Constitution of the Athenians
2511:Essays on Aristotle's Poetics
2264:Plato and Aristotle on Poetry
1806:Watson, Walter (2015-03-23).
1118:New York: Liberal Arts Press.
63:
4036:On Generation and Corruption
3580:Aestheticization of politics
2284:10.5840/ancientphil201939117
2000:10.5840/ancientphil201939117
1835:The Basic Works of Aristotle
1091:. Harvard University Press.
423:without use of any narrator.
4706:Books about literary theory
2097:University of Toronto Press
2089:Minor, Vernon Hyde (2016).
1906:Halliwell, Stephen (1986).
1572:Carlson, Marvin A. (1993).
1465:Dukore, Bernard F. (1974).
1331:. Oxford University Press.
1167:. Oxford University Press.
1079:Cambridge University Press.
1056:Ἀριστοτέλους Περὶ ποιητικῆς
322:of "poetry" in three ways:
4757:
4277:On Marvellous Things Heard
3896:Potentiality and actuality
2676:entry by Joe Sachs in the
2666:: Russian, English, French
1953:Aristotle, Poetics 1448a,
1783:Cambridge University Press
1409:A digital reproduction of
997:. Oxford: Clarendon Press.
949:(in Latin). Translated by
785:is a core plot element in
653:Arabic translation of the
259:found in Modern Library's
90:
84:
47:
20:
4663:
4640:Commentaries on Aristotle
3648:
2688:available at Google Books
2502:Morpurgo- Tagliabue, G.,
2358:10.1017/S0009838800004559
2325:10.1017/S0009838800037411
2266:, Chapel Hill/London 1986
2181:Belfiore, Elizabeth, S.,
2165:10.1163/22129758-12341277
1851:The Review of Metaphysics
1613:10.1017/S0009838800035187
982:London: MacMillan and Co.
761:Cannocchiale aristotelico
743:appeared, culminating in
2400:, Princeton/Oxford 2002.
2383:10.1163/156852508X252876
628:Anyway, arising from an
261:Basic Works of Aristotle
27:Poetics (disambiguation)
4008:Sophistical Refutations
3600:Evolutionary aesthetics
3550:The Aesthetic Dimension
2645:from Hodoi elektronikai
2365:Heath, Malcolm (2009).
2340:Heath, Malcolm (1991).
2307:Heath, Malcolm (1989).
2092:Baroque Visual Rhetoric
1683:Garver, Eugene (1994).
1600:The Classical Quarterly
1452:Bekker, August Immanuel
4193:On Divination in Sleep
3879:Horror vacui (physics)
3530:Avant-Garde and Kitsch
3480:Lectures on Aesthetics
2653:Oxford Classical Texts
2412:Aristotle in Hollywood
1735:Habib, M.A.R. (2005).
863:or "diction", "speech"
662:
642:
455:
265:
244:Tractatus coislinianus
136:The surviving book of
59:
25:. For other uses, see
4741:Aesthetics literature
4685:Philosophy portal
4307:Rhetoric to Alexander
3675:Philosophy portal
2601:, Leipzig/Berlin 1914
2309:"Aristotelian Comedy"
2120:Eco, Umberto (2004).
1965:Northrop Frye, Herman
1885:. Existenceps Press.
1652:10.1353/nlh.1995.0058
1131:De arte poetica liber
947:De arte poetica liber
825:or "thought", "theme"
652:
626:
431:
4396:Andronicus of Rhodes
4297:On Virtues and Vices
4252:On Indivisible Lines
4173:Sense and Sensibilia
4143:Rhetoric and poetics
3956:mathematical realism
3620:Philosophy of design
3500:In Praise of Shadows
3490:The Critic as Artist
2626:Project Gutenberg –
2414:. Intellect (2001).
2396:Halliwell, Stephen,
2389:Halliwell, Stephen,
2241:Dukore, Bernard F.,
2202:Butcher, Samuel H.,
1970:Anatomy of Criticism
1639:New Literary History
990:On the Art of Poetry
792:The Name of the Rose
745:Lodovico Castelvetro
713:was accepted by the
669:that influenced the
221:translation made by
191:(Bk VIII), and
179:Aristotle's work on
4716:Books about writing
4366:Strato of Lampsacus
3998:Posterior Analytics
3750:Ideas and interests
3630:Philosophy of music
3605:Mathematical beauty
2636:Aristotle's Poetics
2592:Classical Quarterly
2581:Classical Quarterly
2523:Scott, Gregory L.,
2495:Luserke, M. (ed.),
2434:Aristotle on Comedy
2427:Aristoteles: Poetik
2393:, Chapel Hill 1986.
2391:Aristotle's Poetics
2346:Classical Quarterly
2313:Classical Quarterly
2257:Classical Antiquity
1909:Aristotle's Poetics
1383:of these emotions."
1357:How to Tell a Story
1110:On Poetry and Style
1062:. Ἀθῆναι: Kollaros.
638:phallic processions
223:William of Moerbeke
4736:Works by Aristotle
4731:Books about poetry
4410:Islamic Golden Age
4333:Peripatetic school
4119:Nicomachean Ethics
3814:Future contingents
3625:Philosophy of film
3615:Patterns in nature
3585:Applied aesthetics
3560:Why Beauty Matters
3346:Life imitating art
3207:Art for art's sake
2597:Vahlen, Johannes,
2555:, Heraklion 2001.
2485:. London: Chatto.
2272:Ancient Philosophy
1988:Ancient Philosophy
1519:1447a13 (1987, 1).
1501:Aristotle (1987).
1355:Aristotle (2022).
1346:Aristotle (2018).
1323:Aristotle (2013).
1286:Aristotle (2006).
1277:Aristotle (2002).
1244:Aristotle (1996).
1235:Aristotle (1990).
1218:Aristotle (1987).
1201:Halliwell, Stephen
1191:Aristotle (1986).
1182:Aristotle (1980).
1159:Aristotle (1968).
1123:Aristotle (1965).
1106:Aristotle (1958).
1071:The Art of Fiction
1067:Aristotle (1953).
1024:Aristotle (1934).
1015:Aristotle (1932).
1002:Aristotle (1927).
987:Aristotle (1909).
972:Aristotle (1895).
945:Aristotle (1885).
721:the 16th century.
663:
449:of such emotions.
4693:
4692:
4645:Metabasis paradox
4606:
4605:
4546:
4545:
4533:Pietro Pomponazzi
4475:
4474:
4455:
4454:
4404:
4403:
4356:Eudemus of Rhodes
4346:Clearchus of Soli
4320:
4319:
3988:On Interpretation
3931:Temporal finitism
3819:Genus–differentia
3776:Category of being
3683:
3682:
3635:Psychology of art
3510:Art as Experience
2684:Friedrich Sylburg
2583:29 (1935) 192–201
2551:Sifakis, Gr. M.,
2457:. Heidelberg 1991
2446:Lanza, D. (ed.),
2425:Ηöffe, O. (ed.),
2352:(1991): 389–402.
2319:(1989): 344–354.
2262:Else, Gerald F.,
2233:978-0-8014-8154-3
2223:Carlson, Marvin,
2137:978-0-15-100812-4
2106:978-1-4426-4879-1
2075:978-1-135-81606-3
1946:978-960-524-132-2
1892:978-0-9997049-3-6
1819:978-0-226-27411-9
1583:978-0-8014-8154-3
1447:Aristotelis Opera
1338:978-0-19-960836-2
1297:978-1-58510-187-0
1259:978-0-14-044636-4
1174:978-0-19-814024-5
1142:978-0-19-814564-6
1098:978-0-674-28808-9
1052:Συκουτρῆ, Ιωάννης
1032:. Berlin/Leipzig.
1004:Rostagni, Augusto
895:or, "retribution"
351:the standard view
165:Classical unities
16:Book by Aristotle
4748:
4726:Plot (narrative)
4683:
4682:
4681:
4671:
4670:
4548:
4528:Jacopo Zabarella
4477:
4457:
4406:
4386:Diodorus of Tyre
4329:
3971:
3901:Substance theory
3862:Moderate realism
3856:Minima naturalia
3757:Active intellect
3710:
3703:
3696:
3687:
3673:
3672:
3671:
3565:
3555:
3545:
3535:
3525:
3515:
3505:
3495:
3485:
3475:
3465:
3455:
3445:
3435:
2734:
2727:
2720:
2711:
2649:Critical edition
2594:55 (2005) 435–46
2569:, Amsterdam 1981
2520:92 (1989) 137–56
2513:, Princeton 1992
2386:
2361:
2336:
2303:
2213:, Baltimore 1895
2199:, Amsterdam 1969
2169:
2168:
2148:
2142:
2141:
2117:
2111:
2110:
2086:
2080:
2079:
2059:
2050:
2049:
2041:
2035:
2034:
2026:
2020:
2019:
1983:
1977:
1974:
1950:
1930:
1924:
1923:
1903:
1897:
1896:
1878:
1869:
1867:
1845:
1839:
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1830:
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1823:
1803:
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1360:
1351:
1342:
1319:
1310:
1301:
1282:
1272:
1263:
1251:
1240:
1231:
1226:. Translated by
1225:
1214:
1199:. Translated by
1198:
1187:
1178:
1155:
1146:
1134:
1119:
1113:
1102:
1080:
1075:. Translated by
1074:
1063:
1047:
1041:
1033:
1028:. Translated by
1020:
1011:
998:
993:. Translated by
983:
978:. Translated by
968:
962:
954:
951:Vahlen, Iohannes
933:
928:. Translated by
757:Emanuele Tesauro
720:
617:
487:
401:human characters
352:
183:consists of the
93:
92:
87:
86:
69:
65:
50:
49:
4756:
4755:
4751:
4750:
4749:
4747:
4746:
4745:
4696:
4695:
4694:
4689:
4679:
4677:
4659:
4602:
4542:
4538:Cesar Cremonini
4494:Albertus Magnus
4471:
4451:
4400:
4316:
4272:Physiognomonics
4267:On Things Heard
4262:On the Universe
4223:
4207:
4165:Parva Naturalia
4159:
4138:
4124:Eudemian Ethics
4104:
4088:
4050:
4012:
3993:Prior Analytics
3960:
3884:Rational animal
3745:
3719:
3717:Aristotelianism
3714:
3684:
3679:
3669:
3667:
3644:
3568:
3563:
3553:
3543:
3540:Critical Essays
3533:
3523:
3513:
3503:
3493:
3483:
3473:
3463:
3453:
3443:
3433:
3417:
3190:
3104:Ortega y Gasset
2897:
2809:
2743:
2738:
2621:audio recording
2616:
2611:
2574:Mimesis and Art
2453:Leonhardt, J.,
2410:Hiltunen, Ari,
2377:(2009): 51–75.
2364:
2339:
2306:
2269:
2259:3 (1984) 164-78
2216:Cave, Terence,
2206:, New York 1911
2177:
2172:
2150:
2149:
2145:
2138:
2130:. p. 236.
2119:
2118:
2114:
2107:
2088:
2087:
2083:
2076:
2061:
2060:
2053:
2043:
2042:
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2028:
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1985:
1984:
1980:
1963:
1947:
1932:
1931:
1927:
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1900:
1893:
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1872:
1847:
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1842:
1832:
1831:
1827:
1820:
1805:
1804:
1800:
1793:
1781:. Vol. 3.
1774:
1773:
1764:
1757:
1743:Wiley-Blackwell
1734:
1733:
1729:
1720:
1703:
1697:
1682:
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1677:
1635:
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1234:
1217:
1211:
1190:
1181:
1175:
1158:
1149:
1143:
1122:
1105:
1099:
1085:Else, Gerald F.
1083:
1066:
1060:Μενάρδου, Σιμος
1050:
1034:
1030:Gudeman, Alfred
1023:
1014:
1001:
995:Bywater, Ingram
986:
971:
955:
944:
932:. London. 1789.
930:Twining, Thomas
922:
918:
801:
737:Rhetores graeci
718:
680:Syriac-language
659:Abū Bishr Mattā
647:
615:
485:
350:
316:
253:
213:. The accurate
177:
80:literary theory
72:dramatic theory
30:
17:
12:
11:
5:
4754:
4752:
4744:
4743:
4738:
4733:
4728:
4723:
4718:
4713:
4708:
4698:
4697:
4691:
4690:
4688:
4687:
4675:
4664:
4661:
4660:
4658:
4657:
4652:
4650:Views on women
4647:
4642:
4637:
4632:
4631:
4630:
4620:
4614:
4612:
4611:Related topics
4608:
4607:
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4530:
4525:
4523:Peter of Spain
4520:
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4508:
4507:
4506:
4499:Thomas Aquinas
4496:
4491:
4485:
4483:
4473:
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4393:
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4376:Aristo of Ceos
4373:
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4229:Pseudepigrapha
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4031:On the Heavens
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3773:
3766:
3763:Antiperistasis
3759:
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3649:
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3645:
3643:
3642:
3637:
3632:
3627:
3622:
3617:
3612:
3610:Neuroesthetics
3607:
3602:
3597:
3592:
3590:Arts criticism
3587:
3582:
3576:
3574:
3570:
3569:
3567:
3566:
3556:
3546:
3536:
3526:
3516:
3506:
3496:
3486:
3476:
3466:
3460:On the Sublime
3456:
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3436:
3425:
3423:
3419:
3418:
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3410:
3405:
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3380:
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3363:
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3353:
3348:
3343:
3338:
3331:
3326:
3324:Interpretation
3321:
3316:
3311:
3306:
3301:
3296:
3291:
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3276:
3271:
3266:
3261:
3256:
3251:
3246:
3241:
3240:
3239:
3234:
3224:
3219:
3217:Artistic merit
3214:
3209:
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3141:
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3096:
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2905:
2903:
2899:
2898:
2896:
2895:
2888:
2883:
2878:
2873:
2868:
2866:Psychoanalysis
2863:
2858:
2853:
2848:
2843:
2838:
2833:
2828:
2823:
2817:
2815:
2811:
2810:
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2767:
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2757:
2751:
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2739:
2737:
2736:
2729:
2722:
2714:
2708:
2707:
2690:
2680:
2668:
2659:
2657:Ingram Bywater
2646:
2640:
2632:
2623:
2615:
2614:External links
2612:
2610:
2609:
2602:
2595:
2584:
2577:
2576:, Uppsala 1966
2570:
2563:
2549:
2542:
2535:
2533:978-0999704936
2521:
2514:
2507:
2500:
2493:
2468:
2465:
2460:Lienhard, K.,
2458:
2451:
2444:
2437:
2430:
2423:
2408:
2401:
2394:
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2337:
2304:
2267:
2260:
2253:
2239:
2236:
2221:
2214:
2207:
2200:
2195:Bremer, J.M.,
2193:
2178:
2176:
2173:
2171:
2170:
2159:(2): 231–252.
2143:
2136:
2112:
2105:
2099:. p. 13.
2081:
2074:
2051:
2036:
2021:
1978:
1976:
1975:
1961:
1959:original Greek
1945:
1925:
1918:
1898:
1891:
1870:
1858:(2): 303–336.
1840:
1825:
1818:
1798:
1791:
1785:. p. 54.
1762:
1755:
1727:
1725:
1724:
1718:
1695:
1675:
1673:
1672:
1646:(4): 755–773.
1589:
1582:
1564:
1543:10.2307/429084
1537:(2): 155–170.
1521:
1508:
1482:
1475:
1457:
1436:
1434:
1431:
1428:
1427:
1415:gallica.bnf.fr
1402:
1385:
1370:
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1367:
1364:
1362:
1361:
1352:
1343:
1337:
1329:Kenny, Anthony
1320:
1311:
1302:
1296:
1283:
1274:
1264:
1258:
1241:
1232:
1228:Janko, Richard
1215:
1209:
1188:
1179:
1173:
1156:
1147:
1141:
1125:Kassel, Rudolf
1120:
1103:
1097:
1081:
1064:
1054:, ed. (1937).
1048:
1026:Περὶ ποιητικῆς
1021:
1012:
999:
984:
969:
942:
919:
917:
914:
913:
912:
904:
903:or "spectacle"
896:
888:
880:
872:
864:
856:
842:
834:
833:or "character"
826:
818:
810:
800:
797:
772:human sciences
646:
643:
622:
621:
620:
619:
609:
608:
598:
597:
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588:
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579:
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569:
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541:
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533:
530:
523:
516:
515:
502:
501:
500:
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492:
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472:
471:
435:representation
427:
426:
425:
424:
417:
416:
412:
411:
410:
409:
386:
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327:
315:
312:
303:
302:
298:
295:
271:
268:
252:
249:
176:
173:
134:
133:
130:
127:
74:and the first
52:Peri poietikês
48:Περὶ ποιητικῆς
15:
13:
10:
9:
6:
4:
3:
2:
4753:
4742:
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4737:
4734:
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4719:
4717:
4714:
4712:
4709:
4707:
4704:
4703:
4701:
4686:
4676:
4674:
4666:
4665:
4662:
4656:
4655:Wheel paradox
4653:
4651:
4648:
4646:
4643:
4641:
4638:
4636:
4633:
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4563:Trendelenburg
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4500:
4497:
4495:
4492:
4490:
4489:Peter Lombard
4487:
4486:
4484:
4482:
4481:Scholasticism
4478:
4468:
4465:
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4462:
4458:
4446:
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4371:Lyco of Troas
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4327:
4323:
4313:
4312:Magna Moralia
4310:
4308:
4305:
4303:
4300:
4298:
4295:
4293:
4290:
4288:
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4283:
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3980:
3978:
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3972:
3969:
3967:
3963:
3957:
3954:
3952:
3951:Virtue ethics
3949:
3947:
3946:Unmoved mover
3944:
3942:
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3934:
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3676:
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3650:
3647:
3641:
3640:Theory of art
3638:
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3437:
3432:
3431:
3430:Hippias Major
3427:
3426:
3424:
3420:
3414:
3411:
3409:
3406:
3404:
3401:
3399:
3396:
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3307:
3305:
3302:
3300:
3297:
3295:
3292:
3290:
3289:Entertainment
3287:
3285:
3282:
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3277:
3275:
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3267:
3265:
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3260:
3257:
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3235:
3233:
3230:
3229:
3228:
3225:
3223:
3220:
3218:
3215:
3213:
3212:Art manifesto
3210:
3208:
3205:
3203:
3202:Appropriation
3200:
3199:
3197:
3193:
3187:
3186:
3182:
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3122:
3120:
3117:
3115:
3112:
3110:
3107:
3105:
3102:
3100:
3097:
3095:
3094:Merleau-Ponty
3092:
3090:
3087:
3085:
3082:
3080:
3077:
3075:
3072:
3070:
3067:
3065:
3062:
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3055:
3052:
3050:
3047:
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3042:
3040:
3037:
3035:
3032:
3030:
3027:
3025:
3022:
3020:
3017:
3015:
3012:
3010:
3007:
3005:
3002:
3000:
2997:
2995:
2992:
2990:
2987:
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2982:
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2937:
2935:
2932:
2930:
2927:
2925:
2922:
2920:
2917:
2915:
2912:
2910:
2909:Abhinavagupta
2907:
2906:
2904:
2900:
2894:
2893:
2889:
2887:
2884:
2882:
2879:
2877:
2874:
2872:
2869:
2867:
2864:
2862:
2861:Postmodernism
2859:
2857:
2854:
2852:
2849:
2847:
2844:
2842:
2839:
2837:
2834:
2832:
2829:
2827:
2824:
2822:
2819:
2818:
2816:
2812:
2806:
2803:
2801:
2798:
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2786:
2783:
2781:
2778:
2776:
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2771:
2768:
2766:
2763:
2761:
2758:
2756:
2753:
2752:
2750:
2746:
2742:
2735:
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2723:
2721:
2716:
2715:
2712:
2705:
2701:
2700:
2695:
2691:
2689:
2685:
2681:
2679:
2675:
2674:
2669:
2667:
2665:
2660:
2658:
2654:
2650:
2647:
2644:
2641:
2639:
2637:
2633:
2631:
2629:
2624:
2622:
2619:librivox.org
2618:
2617:
2613:
2608:, Berlin 2007
2607:
2603:
2600:
2596:
2593:
2590:4.14484-19",
2589:
2585:
2582:
2578:
2575:
2571:
2568:
2565:Söffing, W.,
2564:
2562:
2561:960-524-132-3
2558:
2554:
2550:
2547:
2543:
2540:
2536:
2534:
2530:
2526:
2522:
2519:
2515:
2512:
2508:
2505:
2501:
2498:
2494:
2492:
2491:0-7011-1635-8
2488:
2484:
2483:0-389-20141-3
2480:
2476:
2472:
2469:
2466:
2464:, Zürich 1950
2463:
2459:
2456:
2452:
2449:
2445:
2443:, London 1971
2442:
2439:Jones, John,
2438:
2436:, London 1984
2435:
2431:
2428:
2424:
2421:
2420:1-84150-060-7
2417:
2413:
2409:
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2402:
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2289:
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2268:
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2258:
2254:
2252:
2251:0-03-091152-4
2248:
2244:
2240:
2237:
2234:
2230:
2226:
2222:
2220:, Oxford 1988
2219:
2215:
2212:
2209:Carroll, M.,
2208:
2205:
2201:
2198:
2194:
2192:
2191:0-691-06899-2
2188:
2184:
2180:
2179:
2174:
2166:
2162:
2158:
2154:
2147:
2144:
2139:
2133:
2129:
2125:
2124:
2123:On literature
2116:
2113:
2108:
2102:
2098:
2094:
2093:
2085:
2082:
2077:
2071:
2068:. Routledge.
2067:
2066:
2058:
2056:
2052:
2047:
2040:
2037:
2032:
2025:
2022:
2017:
2013:
2009:
2005:
2001:
1997:
1993:
1989:
1982:
1979:
1972:
1971:
1966:
1962:
1960:
1956:
1952:
1951:
1948:
1942:
1938:
1937:
1929:
1926:
1921:
1919:0-226-31394-8
1915:
1911:
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1792:0-521-30008-8
1788:
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1763:
1758:
1756:0-631-23200-1
1752:
1748:
1744:
1740:
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1731:
1728:
1721:
1719:1-57003-526-1
1715:
1710:
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1696:0-226-28424-7
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1476:0-03-091152-4
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1449:
1448:
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1403:
1399:
1398:phallic songs
1395:
1389:
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1344:
1340:
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1210:0-8078-1710-4
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1126:
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1117:
1116:Grube, G.M.A.
1112:
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1005:
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981:
980:Butcher, S.H.
977:
976:
970:
966:
960:
952:
948:
943:
941:
937:
931:
927:
926:
921:
920:
915:
911:or "reversal"
910:
909:
905:
902:
901:
897:
894:
893:
889:
886:
885:
881:
878:
877:
873:
870:
869:
865:
862:
861:
857:
854:
853:
848:
847:
843:
840:
839:
835:
832:
831:
827:
824:
823:
819:
816:
815:
811:
808:
807:
803:
802:
798:
796:
794:
793:
788:
784:
779:
775:
773:
769:
766:
762:
758:
754:
751:, and in the
750:
746:
742:
738:
734:
730:
726:
725:Giorgio Valla
722:
716:
712:
708:
704:
700:
696:
692:
687:
685:
681:
677:
672:
668:
660:
656:
651:
644:
641:
639:
635:
631:
630:improvisatory
625:
613:
612:
611:
610:
606:
605:
600:
599:
592:
591:
590:
589:
585:
581:
580:
574:
573:
572:
571:
566:
562:
561:
556:
553:
552:
547:
546:
538:
534:
531:
527:
526:
524:
520:
519:
518:
517:
513:
512:
507:
504:
503:
496:
495:
494:
493:
483:
482:
476:
475:
474:
473:
469:
468:
463:
460:
459:
458:
454:
450:
448:
444:
440:
436:
433:Tragedy is a
430:
421:
420:
419:
418:
414:
413:
407:
402:
398:
394:
390:
389:
388:
387:
383:
382:
376:
372:
368:
364:
360:
356:
347:
343:
339:
335:
332:
331:
330:
329:
325:
324:
323:
321:
313:
311:
309:
299:
296:
293:
289:
285:
280:
276:
272:
269:
266:
264:
262:
258:
250:
248:
246:
245:
240:
236:
232:
228:
224:
220:
216:
212:
208:
204:
200:
196:
195:
190:
186:
182:
174:
172:
170:
166:
162:
158:
154:
150:
145:
143:
139:
131:
128:
125:
124:
123:
121:
117:
113:
109:
105:
101:
97:
81:
77:
73:
61:
57:
53:
44:
40:
39:
34:
28:
24:
19:
4635:Neoplatonism
4361:Theophrastus
4219:Protrepticus
4154:
4112:and politics
3923:
3910:
3906:hypokeimenon
3904:
3888:
3871:
3854:
3847:
3835:
3831:Hylomorphism
3823:
3801:
3780:
3768:
3761:
3558:
3548:
3538:
3508:
3498:
3478:
3468:
3458:
3448:
3439:
3438:
3428:
3375:
3351:Magnificence
3333:
3183:
3149:Schopenhauer
2984:Coomaraswamy
2902:Philosophers
2890:
2821:Aestheticism
2697:
2672:
2663:
2635:
2627:
2605:
2598:
2591:
2587:
2580:
2573:
2572:Sörbom, G.,
2566:
2552:
2545:
2544:Sen, R. K.,
2538:
2537:Sen, R. K.,
2524:
2517:
2510:
2503:
2496:
2474:
2471:Lucas, F. L.
2461:
2454:
2447:
2440:
2433:
2426:
2411:
2404:
2397:
2390:
2374:
2370:
2349:
2345:
2316:
2312:
2275:
2271:
2263:
2256:
2242:
2224:
2217:
2210:
2203:
2196:
2182:
2156:
2152:
2146:
2122:
2115:
2091:
2084:
2064:
2045:
2039:
2024:
1991:
1987:
1981:
1969:
1935:
1928:
1908:
1901:
1882:
1855:
1849:
1843:
1834:
1828:
1808:
1801:
1777:
1737:
1730:
1707:
1685:
1678:
1643:
1637:
1607:(1): 77–94.
1604:
1598:
1592:
1573:
1567:
1534:
1530:
1524:
1516:
1511:
1502:
1466:
1460:
1446:
1440:
1418:
1410:
1405:
1388:
1374:
1356:
1347:
1324:
1315:
1306:
1287:
1278:
1273:(posthumous)
1268:
1247:
1236:
1221:
1194:
1183:
1164:
1151:
1130:
1109:
1088:
1070:
1055:
1025:
1016:
1007:
989:
974:
946:
924:
906:
898:
890:
882:
874:
866:
858:
850:
844:
836:
828:
820:
812:
804:
790:
782:
780:
776:
760:
748:
740:
736:
723:
710:
706:
690:
688:
683:
675:
666:
664:
654:
627:
623:
602:
583:
564:
558:
549:
509:
498:consequence.
479:
465:
456:
451:
432:
428:
405:
374:
370:
366:
362:
358:
354:
317:
304:
260:
256:
254:
242:
226:
198:
192:
188:
184:
178:
152:
146:
137:
135:
112:lyric poetry
51:
37:
36:
31:
18:
4721:Narratology
4511:Duns Scotus
4351:Dicaearchus
4341:Aristoxenus
4100:Metaphysics
4093:Metaphysics
4079:Progression
4046:On the Soul
4041:Meteorology
3843:Magnanimity
3809:Four causes
3444:(c. 335 BC)
3434:(c. 390 BC)
3413:Work of art
3366:Picturesque
3222:Avant-garde
3179:Winckelmann
3054:Kierkegaard
2979:Collingwood
2949:Baudrillard
2876:Romanticism
2846:Historicism
2780:Mathematics
2699:In Our Time
2671:Aristotle:
2630:(Aristotle)
2506:, Rome 1967
2450:, Pisa 2002
2432:Janko, R.,
2029:Aristotle.
1184:La Poétique
1161:Lucas, D.W.
1077:Potts, L.J.
806:Anagnorisis
787:Umberto Eco
759:, with his
671:Middle Ages
601:spectacle (
486:(best last)
207:Renaissance
203:Middle Ages
4700:Categories
4593:Hursthouse
4467:Maimonides
4433:Avicennism
4084:Generation
4056:On Animals
3983:Categories
3803:Eudaimonia
3383:Recreation
3361:Perception
3254:Creativity
2954:Baumgarten
2944:Baudelaire
2826:Classicism
2741:Aesthetics
2702:series on
2643:Greek text
1745:. p.
1515:Aristotle
1433:References
1421:begins on
1411:Paris 1741
1279:On Poetics
1230:. Hackett.
953:. Lipsiae.
908:Peripeteia
799:Core terms
676:Paris 1741
308:universals
284:dénouement
205:and early
181:aesthetics
175:Background
169:contradict
108:satyr play
106:, and the
60:De Poetica
4628:Platonism
4583:MacIntyre
4445:Averroism
4423:Al-Farabi
4381:Critolaus
4325:Followers
4302:Economics
4282:Mechanics
4247:On Plants
4242:On Colors
4237:On Breath
4188:On Dreams
4178:On Memory
3941:Haecceity
3919:Syllogism
3890:Phronesis
3782:Catharsis
3731:Aristotle
3388:Reverence
3294:Eroticism
3264:Depiction
3237:Masculine
3139:Santayana
3099:Nietzsche
3044:Hutcheson
3034:Heidegger
3019:Greenberg
2974:Coleridge
2939:Balthasar
2924:Aristotle
2886:Theosophy
2881:Symbolism
2856:Modernism
2841:Formalism
2682:Notes of
2371:Mnemosyne
2333:246879371
2300:171990673
2292:0740-2007
2031:"Poetics"
2016:171990673
2008:0740-2007
1668:261472745
1629:170390939
1551:0021-8529
1423:page 184r
1381:catharsis
1038:cite book
959:cite book
855:, "pride"
814:Catharsis
789:'s novel
733:anthology
699:Al-Farabi
693:included
645:Influence
634:dithyramb
557:diction (
548:thought (
506:character
447:catharsis
439:narration
346:epic poem
279:Discovery
275:catharsis
157:catharsis
66:335
33:Aristotle
4673:Category
4598:Nussbaum
4568:Brentano
4440:Averroes
4428:Avicenna
4418:Al-Kindi
4391:Erymneus
4287:Problems
4183:On Sleep
4150:Rhetoric
4129:Politics
4074:Movement
3936:Quiddity
3797:accident
3724:Overview
3663:Category
3595:Axiology
3464:(c. 500)
3454:(c. 100)
3329:Judgment
3284:Emotions
3279:Elegance
3259:Cuteness
3232:Feminine
3195:Concepts
3164:Tanizaki
3144:Schiller
3129:Richards
3119:Rancière
3089:Maritain
3024:Hanslick
2964:Benjamin
2836:Feminism
2805:Theology
2785:Medieval
2775:Japanese
2770:Internet
2527:(2018),
2128:Harcourt
2033:. 1449a.
1967:(1957).
1864:29765376
1660:20057317
1087:(1957).
1017:Poétique
838:Hamartia
765:Galilean
703:Averroes
695:Avicenna
582:melody (
481:hamartia
384:Subjects
355:rhuthmos
334:Language
314:Synopsis
251:Overview
211:Averroes
194:Rhetoric
189:Politics
161:hamartia
85:ποιητική
4516:Scotism
4504:Thomism
4155:Poetics
4064:History
4026:Physics
4018:Physics
3975:Organon
3903: (
3849:Mimesis
3793:Essence
3658:Outline
3573:Related
3440:Poetics
3408:Tragedy
3398:Sublime
3371:Quality
3356:Mimesis
3314:Harmony
3299:Fashion
3274:Ecstasy
3269:Disgust
3185:more...
3154:Scruton
3079:Lyotard
3014:Goodman
2994:Deleuze
2929:Aquinas
2919:Alberti
2892:more...
2871:Realism
2851:Marxism
2831:Fascism
2814:Schools
2800:Science
2755:Ancient
2704:Radio 4
2673:Poetics
2664:Poetics
2628:Poetics
2588:Poetics
2539:Mimesis
2175:Sources
1955:English
1517:Poetics
1454:. 1837.
1419:Poetics
1325:Poetics
1316:Poetics
1288:poetics
1269:Poetics
1248:Poetics
1237:Poetics
1195:Poetics
1165:Poetics
1163:(ed.).
1152:Poetics
1127:(ed.).
1008:Poetica
1006:(ed.).
975:Poetics
892:Nemesis
876:Mimesis
822:Dianoia
783:Poetics
768:physics
755:period
753:baroque
749:Poetics
741:Poetics
711:Poetics
707:Poetics
691:Poetics
684:Poetics
667:Poetics
655:Poetics
551:dianoia
393:tragedy
375:Poetics
367:kithara
363:Poetics
292:diction
288:tragedy
257:Poetics
235:tragedy
231:papyrus
227:Poetics
199:Poetics
185:Poetics
153:Poetics
149:Western
142:tragedy
138:Poetics
120:mimesis
104:tragedy
91:ποιητής
38:Poetics
23:Poetics
4558:Newman
4551:Modern
4460:Jewish
4110:Ethics
4003:Topics
3873:Philia
3867:Mythos
3741:Lyceum
3564:(2009)
3554:(1977)
3544:(1946)
3534:(1939)
3524:(1935)
3514:(1934)
3504:(1933)
3494:(1891)
3484:(1835)
3474:(1757)
3341:Kitsch
3319:Humour
3249:Comedy
3227:Beauty
3169:Vasari
3159:Tagore
3134:Ruskin
3074:Lukács
3064:Langer
3009:Goethe
2934:Balázs
2914:Adorno
2795:Nature
2760:Africa
2559:
2531:
2489:
2481:
2418:
2331:
2298:
2290:
2249:
2231:
2189:
2134:
2103:
2072:
2014:
2006:
1943:
1916:
1889:
1862:
1816:
1789:
1753:
1716:
1693:
1666:
1658:
1627:
1621:638607
1619:
1580:
1559:429084
1557:
1549:
1473:
1417:. The
1394:comedy
1335:
1307:Poetik
1294:
1256:
1207:
1171:
1139:
1095:
938:&
884:Mythos
852:Hybris
846:Hubris
729:Aldine
701:, and
678:. The
594:drama.
568:words.
467:mythos
443:terror
415:Method
397:comedy
342:melody
340:, and
338:rhythm
326:Matter
320:genres
239:comedy
197:. The
163:, the
114:, and
100:comedy
76:extant
4623:Plato
4588:Smith
4573:Adler
4069:Parts
3966:Works
3925:Telos
3912:ousia
3837:Lexis
3825:Hexis
3770:Arete
3736:Logic
3653:Index
3422:Works
3403:Taste
3393:Style
3174:Wilde
3114:Plato
3109:Pater
3069:Lipps
3029:Hegel
2999:Dewey
2989:Danto
2969:Burke
2790:Music
2765:India
2748:Areas
2655:) by
2329:S2CID
2296:S2CID
2012:S2CID
1860:JSTOR
1664:S2CID
1656:JSTOR
1625:S2CID
1617:JSTOR
1555:JSTOR
1366:Notes
900:Opsis
868:Melos
860:Lexis
830:Ethos
604:opsis
584:melos
565:logos
560:lexis
511:ethos
219:Latin
215:Greek
96:drama
56:Latin
43:Greek
4578:Foot
4212:Lost
3377:Rasa
3335:Kama
3309:Gaze
3244:Camp
3124:Rand
3059:Klee
3049:Kant
3039:Hume
2959:Bell
2557:ISBN
2529:ISBN
2487:ISBN
2479:ISBN
2416:ISBN
2288:ISSN
2247:ISBN
2229:ISBN
2187:ISBN
2132:ISBN
2101:ISBN
2070:ISBN
2004:ISSN
1941:ISBN
1914:ISBN
1887:ISBN
1814:ISBN
1787:ISBN
1751:ISBN
1714:ISBN
1691:ISBN
1578:ISBN
1547:ISSN
1471:ISBN
1333:ISBN
1292:ISBN
1254:ISBN
1205:ISBN
1169:ISBN
1137:ISBN
1093:ISBN
1044:link
965:link
719:into
715:West
462:plot
445:the
395:and
359:Laws
159:and
116:epic
3304:Fun
3084:Man
3004:Fry
2696:'s
2694:BBC
2379:doi
2354:doi
2321:doi
2280:doi
2161:doi
1996:doi
1648:doi
1609:doi
1539:doi
849:or
735:of
657:by
371:Ion
110:),
68:BCE
35:'s
4702::
3909:,
3532:"
3522:"
3492:"
2473:,
2375:62
2373:.
2369:.
2350:41
2348:.
2344:.
2327:.
2317:39
2315:.
2311:.
2294:.
2286:.
2276:39
2274:.
2155:.
2126:.
2095:.
2054:^
2010:.
2002:.
1992:39
1990:.
1957:,
1873:^
1856:64
1854:.
1765:^
1749:.
1747:60
1741:.
1662:.
1654:.
1644:26
1642:.
1623:.
1615:.
1605:29
1603:.
1553:.
1545:.
1535:33
1533:.
1485:^
1040:}}
1036:{{
961:}}
957:{{
940:II
795:.
774:.
697:,
336:,
310:.
187:,
102:,
64:c.
62:;
58::
54:;
45::
3915:)
3795:–
3709:e
3702:t
3695:v
3528:"
3518:"
3488:"
2733:e
2726:t
2719:v
2706:.
2651:(
2422:.
2385:.
2381::
2360:.
2356::
2335:.
2323::
2302:.
2282::
2235:.
2167:.
2163::
2157:4
2140:.
2109:.
2078:.
2018:.
1998::
1949:.
1922:.
1895:.
1866:.
1822:.
1795:.
1759:.
1722:.
1699:.
1670:.
1650::
1631:.
1611::
1586:.
1561:.
1541::
1479:.
1425:.
1341:.
1300:.
1262:.
1213:.
1177:.
1145:.
1101:.
1046:)
967:)
936:I
661:.
607:)
514:)
508:(
470:)
464:(
217:-
98:(
41:(
29:.
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