Aristotle'sPoetics: A Defense of Tragic Fiction

Eden, Kathy

doi:10.1002/9780470996393.ch4

Cited by 8 publications

(15 citation statements)

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“…These devices are designed in a way that (1) criticise wicked human action and (2) defines the latter within the paradigms of what Nussbaum (1992) labels as an "eroded character" (p. 284). Eden (2005) succinctly repeats this point by mentioning that "our decisions. .…”

Section: Understanding 'Tragedy'mentioning

confidence: 86%

“…The former argument-as much as it broadens our cultural appreciation of tragedycould be, nonetheless, considered a critical limitation to how many may would like to 'understand' tragedy as an artform that possesses self-revelatory attributes (Silverstone, 2007) and as an agent of moral and social reformation (Eden, 2005).…”

Section: Understanding 'Tragedy'mentioning

confidence: 99%

“…The latter-most argument is, indeed, a curious way to associate tragedy with its moral functions. It helps and encourages the audiences to understand a character's suffering(s) as a cause-and-effect phenomenon, enabling them to retrospectively identify with the 'sufferer' and the sufferer's moral waywardness as a lesson not to repeat in their private lives (Eden, 2005).…”

Section: Understanding 'Tragedy'mentioning

confidence: 99%

“…. of our own fallibility" and "blemishes of character" (Sherman, 1992, p. 182, 191;Eden, 2005;Lear, 1992).…”

Section: Understanding 'Tragedy'mentioning

confidence: 99%

“…Typically, audience-identification is achieved by means of a few 'zooming devices' (Rorty, 1992) that not only serve as causal links within the plot, but also nourish the audiences' capacities to understand the relationship between human action and character (Eden, 2005;Sherman, 1992). These devices are designed in a way that (1) criticise wicked human action and (2) defines the latter within the paradigms of what Nussbaum (1992) labels as an "eroded character" (p. 284).…”

Section: Understanding 'Tragedy'mentioning

confidence: 99%

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Not just sheer pleasure: Critiquing animations and their scope in children’s socialisation

Dwivedi¹

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As the title suggests, the dissertation focusses on critiquing animations to understand their scope in children’s socialisation, as to what extent animations could offer a type of content that possesses an ‘edutainment’ value. As a result, animations (1) attempt to reinforce some ‘intrinsic’ values related to a variety of subjects/themes, including personal growth, meaningful relationships, and social responsibility, (2) providing children with an opportunity to rehearse those values that are deemed key elements for their socialisation. To understand this more closely, we have analysed animations from five different perspectives, leading the dissertation to be designed as a ‘patchwork quilt’ (Wibben, 2011). This metaphor implies that the five chapters are autonomously distinct and deal with exclusive frameworks that are later contextually assimilated in the conclusion to provide the reader with a complete picture that vindicates animations’ scope in children’s socialisation. Chapter I looks at the framework of the ‘odyssey’ employed in animations as a metaphor for personal growth and identity-formation. Chapter II focusses on how Doraemon reconceptualises the features of the classical Greek/Aristotelian form of ‘tragedy’ to develop its own postmodern critique of the Seven Deadly Sins through the image of its transgressive protagonist. Chapter III studies the role of ‘utopianism’ in children’s superhero narratives that inspires a more critical mode of hoping and envisions social progress and welfare. Chapter IV is founded upon the concept of the ‘feminine aesthetic’ to (1) analyse the transition and development of animated women’s representation from passivity to subjectivity and individuality, and (2) briefly explore the evolving representations of new, subversive masculinities. Chapter V emphasises the significance of ‘anthropomorphism’ in children’s media, and is informed by the literary genre of animal autobiography to critique animal-centric narratives as tales of animal liberation that reposition and rehabilitate the ‘human-animal kinship, bestowing ‘the animal’ with a voice.

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Section: Understanding 'Tragedy'mentioning

confidence: 86%

Section: Understanding 'Tragedy'mentioning

confidence: 99%

Section: Understanding 'Tragedy'mentioning

confidence: 99%

“…. of our own fallibility" and "blemishes of character" (Sherman, 1992, p. 182, 191;Eden, 2005;Lear, 1992).…”

Section: Understanding 'Tragedy'mentioning

confidence: 99%

Section: Understanding 'Tragedy'mentioning

confidence: 99%