Brecht's Criticisms of Aristotle's Aesthetics of Tragedy

Curran, Angela

doi:10.1111/0021-8529.00016

Cited by 47 publications

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“…So it does; but what is this pity? A fleeting and vain emotion which lasts no longer than the illusion that produced it" (Rousseau, 1758(Rousseau, /2004 3 See Curran, 2001Curran, , 2016 and Riggle 2017 for a contemporary take on the self-involvement of aesthetic engagements of this kind. 4 I am grateful to an anonymous referee for raising this issue.…”

Section: Back To Catharsismentioning

confidence: 99%

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Catharsis and vicarious fear

Nánay

2018

European J of Philosophy

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The aim of this paper is to give a new interpretation of Aristotle's account of the emotions evoked in the course of engaging with tragic narratives that would give rise to a coherent account of catharsis. Very briefly, the proposal is that tragedy triggers vicarious (or other‐centered) emotions and catharsis is the purgation of such emotions. I argue that this interpretation of “fear and pity” as vicarious emotions is consistent with both Aristotle's account of emotions and his account of catharsis and also with his choice of examples for tragedies that trigger catharsis.

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Section: Back To Catharsismentioning

confidence: 99%

“…See Curran, , and Riggle 2017 for a contemporary take on the self‐involvement of aesthetic engagements of this kind.…”

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Catharsis and vicarious fear

Nánay

2018

European J of Philosophy

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“…Though the Poetics deals with more than poetry and drama, Aristotle's discussion of the role of these art forms in political life has attracted considerable attention (Bartky, 2002;Curran, 2001;Ferrari, 1999;Reeve, 1998). In contemporary democracies it is certainly the case that poetry is often political, but it is perhaps rare (in democracies) that poetry is an activity carried out in service of the state, or aligned with the state's interests.…”

Section: Aristotle's Poetics In the Context Of His Other Workmentioning

confidence: 99%

Organization, Society and Politics

Morrell

2012

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“…While discussing the Aristotelian aesthetics of tragedy, Bertolt Brecht criticizes the Aristotelian theatre "for its preference for dramatic narratives that please but do not instruct or provide real learning about the source of human suffering. Brecht attacks Aristotelian catharsis as a kind of "opium of the masses," arguing that empathizing with characters prevents viewers from reflecting critically on the social causes of human suffering" [17]. Both Beyzaie and Shakespeare help their audiences experience not only a sense of relief (as justice is realized) but a sense of reaction as well.…”

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“…While reading King Lear and Yazdgerd, the audience finds the causes of injustices and human suffering and the grounds for rising against such injustices. It could be asserted that, "the central advantage that Brecht claims for his theater over Aristotelian theater is that it allows the audience to engage in critical reflection, what Brecht refers to as "freedom of thought" [17].…”

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Hamartia and Catharsis in Shakespeare’s <i>King Lear </i>and Bahram Beyzaie’s <i>Death of Yazdgerd</i>

Mirmasoomi

2016

ILSHS

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Abstract. King Lear (1606) is one of the political tragedies of Shakespeare in which the playwright censures Lear's hamartia wreaking havoc not only upon people's lives but bringing devastation on his own kindred. Shakespeare castigates Lear's wrath, sense of superiority, and misjudgments which lead to catastrophic consequences. In Death of Yazdgerd (1979), an anti-authoritarian play, Bahram Beyzayie, the well-known Persiaian tragedian, also depicts the hamartia of King Yazdgerd III whose pride and unjust treatment of people end in devastation. By demonstrating such defective and reprehensible tragic heroes, both playwrights set at providing audience with an anti-heroic representation of the kings and also shattering the common god-like heroism attributed to hero kings. Bearing in mind the political instability of England after the succession of James I, Shakespeare avails himself of such anti-heroic representation to forewarn those monarchs incapable of maintaining a balance between their judgments and the society's need for a genuine authority. In a similar fashion, Beyzayie narrates the true historical event of a Persian king whose improper exercise of authority, withdrawal from battle, and an ultimate escape leave people helpless against the invasion of Arabs. The article initially aims to discuss the concept of hamartia within the tragedies based on Aristotle's definition of hamartia and golden mean; by defining the nature of the kings' unforgivable errors and their extremely imbalanced temperament, the paper demonstrates how such ignoble failure relegates the hero kings to anti-heroes whose punishment equals their mistakes. Contrary to Aristotle's idea, the article also elucidates how Shakespeare and Beyzaie have caused the audiences' catharsis of emotion not through fear and pity but through the creation of a sense of justice by portraying characters who deserve their ultimate downfall.

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Brecht's Criticisms of Aristotle's Aesthetics of Tragedy

Cited by 47 publications

References 1 publication

Catharsis and vicarious fear

Catharsis and vicarious fear

Organization, Society and Politics

Hamartia and Catharsis in Shakespeare’s <i>King Lear </i>and Bahram Beyzaie’s <i>Death of Yazdgerd</i>

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