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By Pierluigi Donini, Mauro Bonazzi, Robert W. Sharples

The quantity collects crucial papers Pierluigi Donini wrote within the final 3 many years with the purpose of marketing a greater overview of post-hellenistic philosophy. The philosophical relevance of post-hellenistic philosophy is now largely (though now not but universally) famous. but a lot continues to be performed. the typical perform of focusing every one unmarried university in itself detracts from a balanced evaluate of the recommendations exploited by means of many philosophers of the interval. at the assumption that debates between faculties play a huge function within the philosophy of the commentators, Donini concentrates at the interplay among major Aristotelians and Platonists and demonstrates that the advancements of either structures of idea have been seriously stimulated via a continual disagreement among the 2 faculties. And while in situations similar to Alcinous and Aspasius this is often primarily uncontroversial, for different authors such us Alexander, Antiochus and Plutarch the pioneering paintings of Donini paves the way in which for a greater figuring out in their doctrines and certainly confirms the highbrow value of the 1st imperial age, while the principles have been laid of models of either Aristotelianism and Platonism that have been absolute to effect the total heritage of ecu notion, from past due Antiquity onwards.

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Additional resources for Commentary and Tradition: Aristotelianism, Platonism, and Post-Hellenistic Philosophy (Commentaria in Aristotelem Graeca Et Byzantina)

Sample text

Elle en est, tout au contraire, le présupposé (réalisé selon les modes et avec les instruments décrits en Politique VIII 7, 1341b32-1342a15) qu’il revient à la tragédie de “parachever” ou de “couronner” en produisant chez le spectateur ou le lecteur le “plaisir propre” qui est décrit plus loin, au chapitre 14 (1453b11-14). En outre, étant donné qu’au moment où il s’apprête à nous donner sa définition de la tragédie au chapitre 6 de la Poétique, en 1449b23, Aristote dit que cette définition doit découler “des choses dites précédemment”, et que dans les 5 premiers chapitres il n’est question ni de catharsis, ni de pitié, ni de peur, il est évident qu’en adoptant ma lecture du verbe perainei, cette difficulté de trouver un sens à ce renvoi n’a plus lieu d’être.

Un cas particulier est l’étude de L. Napolitano Valditara, Scenografie morali nell’Antigone e nell’Edipo re. Sofocle e Aristotele, dans L. ), Antichi e nuovi dialoghi di sapienti e di eroi, Trieste 2002, selon laquelle les tragédies de Sophocle suggèrent la nécessité d’un savoir pratique que l’auteur rapproche explicitement de la phronesis aristotélicienne. Mais curieusement, l’auteur arrive à cette conclusion (certes intéressante) en comparant directement Sophocle et l’Éthique à Nicomaque, et en faisant totalement abstraction de la Poétique envers laquelle elle exprime d’ailleurs une certaine défiance qu’il m’est difficile de partager.

7, 1342a 7-15, surtout la ligne 13 qui parle de ʏƢưƩ ƧƘƟƞƫƠơƦ˅Ʃ: des gens particulièrement émotifs en général. 11 C’est ce que plusieurs interprètes ont bien vu: par exemple, J. Lear, Katharsis, “Phronesis” 33 (1988), pp. 327-344, repris dans Oksenberg Rorty, Essays cit. 9 Mimesis tragique et apprentissage de la phronesis 43 Il ne faut pas chercher à obtenir de la tragédie n’importe quel plaisir, mais celui qui lui est propre. Et puisque le poète doit procurer le plaisir qui dérive, au moyen de l’imitation, de la pitié et de la terreur, il est manifeste que cet effet doit être suscité dans les actions elles-mêmes (1453b10-13).

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