Imitation and learning Learning and pleasure Aristotle, Poetics 4 (original) (raw)

Aristotle’s Mimesis or Creative Imitation

The Creative Launcher

The present paper explores in totality the Mimetic or Creative imitative power in creative writers and visual painters. Giving a befitting reply to his master, Plato condemned poets and painters on the grounds that they lack originality. They are mere imitators and their creation is thrice removed from truth and reality. Aristotle in his magnum opus, Poetics, starts with this mimesis thing and goes at length telling that Mimesis or Imitation is central to existence. We human beings are better developed than brute beasts primarily because we have the highest imitating power. Plato and Aristotle both take into consideration the poets. Plato criticizing him and Aristotle accolade him on grounds on mimetic arts. As it delves deeper into the idea it explores that besides imitation, it is instinctual in nature and the other instinct is for rhythm and harmony. Persons endowed with these two natural gifts ultimately give rise to poetry. Poetry after its birth diverged into two directions th...

Between Aristotle's Poetics and Plato's' Republic : A Reexamination of the Notion of Mimesis and its Role in Emotions, Pleasure and Understanding

2020

Through his multifaceted critique, Plato argues that there is a close connection between emotions and mimesis and that the imitative art produces harmful effects on the human soul, which he illustrates in various passages from Republic II, III and X. In these books, he presents how mimesis strengthens the lower parts of the soul, thus making it vulnerable to the poet's corruptions. Aristotle presents the opposite view of mimesis in his Poetics. Although he does not provide us with a clear definition of mimesis, he re-formulates the concept and claims that true emotions, which are the results of one's engagement with mimetic art, lead to real understanding. A question arises out of Aristotle's investigations into imitative art: Does this redefinition of mimesis sufficiently respond to Plato's accusations? The answers to this question would give us a better understanding of the notion of mimesis, as well as open the way for further inquiry regarding this concept.

Aristotelic learning in the arts

Studies in Philosophy and Education, 2014

The field of Philosophy and Education seems to be experiencing a renewed interest in the work of Aristotle. As recently reviewed by Curren (Oxf Rev Educ 36(5):543–559, 2010), most of this attention aligns with the virtue ethics movement where themes like moral development in education, and the inquiry on human flourishing as the aim of education are prevalent. For sources, this scholarship relies heavily and extensively on the Nicomachean Ethics and Politics’ Book VIII where Aristotle develops his single, clearly defined account of education. Among the short list of scholars who include Poetics in their research, their work seems to return to issues of morality and education (Carr in J Aesthet Educ 44(3):1–15, 2010; Gupta in J Aesthet Educ 44(4):60–80, 2010). This paper is an attempt to rediscover Aristotle’s insights on the peculiar type of learning that the arts seem to favor. In order to carry on this investigation, I will first guide my argument towards Aristotle’s remarks on poiesis. Then, I will focus on what constitutes the heart of poiesis, that is, mimesis. I will pay special attention to Aristotle’s consideration of both poiesis and mimesis as ultimately dealing with what he calls “possibility.” I will argue that learning in the arts entails the coming together of these three qualities. This would be a way of learning characterized by seeing human likenesses emerge as such in our interactions with artworks.

Aristotle and the Pedagogic Function of Aesthetic Pleasure

2013

In this article I intend to analyze the pedagogic function of aesthetic pleasure in the philosophy of Aristotle. In the Politics he says that music has a pedagogic value in order to achieve some emotive dispositions and a right character, precisely because of the pleasure of melody. How is this possible? In the tenth book of the Nicomachean Ethics he links pleasure with the perfection of cognitive activities, sensation and intellectual knowledge. It is necessary to connect aesthetic pleasure with the emotions and with the contemplation of the work of art, in order to know how it helps to educate the character. Although the main function of the work of art is enjoyment, aesthetic pleasure can help to achieve the right dispositions and to learn good models of conduct in a process of intellectual and emotional self-understanding.