Freuds Other Theory of Psychoanalysis: The Replacement for the Indelible Theory of Catharsis

Human Genetic Modification in Applied Ethics. Charmides in Ancient Greek and Roman Philosophy. Pop Culture in Aesthetics. Friedrich Nietzsche in 19th Century Philosophy. 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 emotions and catharsis is the purgation of such emotions. Aesthetics and Emotions in Aesthetics.

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Aesthetics in Ancient Greek and Roman Philosophy. Literature and Emotion in Aesthetics.

Direct download 6 more. The following is an attempt at something new, an experiment in micro-criticism that proposes to solve the conundrum of Aristotelian catharsis in fewer than two hundred words. Reference is made to Oedipus Tyrannus. According to Aristotle, the catharsis of pity and fear is a primary goal of tragedy. Fear depends upon pity—with the spectator fearing that he, too, may be subject to unmerited misfortune.

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Unmerited misfortune is an abomination, a condition suggestive of a defective moral Aristotle regards Oedipus Tyrannus as an exemplary tragedy. Sophocles, by showing Oedipus behaving in ways that merit Philosophy of Literature in Aesthetics.

Direct download 2 more. Mahshid Mirmasoomi King Lear is one of the political tragedies of Shakespeare in which the playwright censures Lear's hamartia wrecking 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, 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 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.

Politics 8 also supplies reason to suppose that catharsis is closely associated with, but not identical to, pleasure. Tragic catharsis is best understood as the benefit accruing from the transformation of painful into pleasurable emotions within the contemplation of mimetic art. Catharsis is not just the end-result of watching a tragedy ; it supervenes on the entire cognitive-cum-emotional experience. In Republic X Plato dismisses any possibility for dramatic genres to be useful, not even for a controlled release of passions.

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Therefore, the Aristotelian approach of catharsis has been comprehended as a response to this refusal. However, in the Laws, Plato reconsiders and suggests a sense in which the tragedy, or put in a better way, the tragic character, has a place in the good life. But at the same time it implies a restructuring of his positions on the This paper aims to evidence these two Platonic approaches and to show that instead of a contradiction, what underlies to this tension is the recognition of the crucial and paradoxical role of emotion in human life.

Celle-ci emprunte deux avenues dans le texte. A central problem in the discussion about the relation between Ethic and Aesthetic is the question of violence. This question follows two paths in the text.

The first one debates the determinated aspects in Francis Bacon painting, the way art represents violence. On that matter, we draw up the thesis that the ethical provocation in his painting don't stand upon the representation of violence but also his tryptic creates an aesthetical indifference and even a pleasure. The second part questions the ethical effects of the aesthetical pleasure in front of violence.

The aristotelien catharsis theory is therefore proposed as a model of an "economy of the difference" that allows the elucidation of the relation between aesthetical pleasure and ethical judgment. Poststructuralism in Continental Philosophy. The author proposes a review of three major theoreticians whose works are considered to be the corner-stones of theatrical studies: Aristotle, whose Poetics, the first reflexion on Occidental theatre, also serve as the foundation of the aesthetics of drama, and, closer to us, Antonin Artaud and Bertolt Brecht who, although unanimous in rejecting the Aristotelian theory, have quite different views on contemporary theatre.

Their definitions are analyzed in the light of mimesis and catharsis , which are not taken here as separate notions, but rather as a mean of grasping the fluctuant outlines of the concept of "reality", be it Aristotle's obedience to a strict narrative structure, Artaud's denial of culture or Brecht's political commitment.

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Despite the persistence of the theoretical model of the cathartic theory in psychoanalysis, it is not what we practice clinically. Sigmund Freud in 19th Century Philosophy. As Szczeklik explores such subjects as the mysteries of the heart rhythm, The process of diagnosis, for instance, belongs to a world of magic Direct download 5 more. Plato's views on tragedy depend in large part on his views about the ethical consequences of emotional arousal. Physical desire is not reprehensible in itself, but is simply non-rational, not identical with reason but capable of being brought into agreement with it.

Some desires, like that for simple and wholesome food, The desire to weep at the theatre is treated in this dialogue as just such an anti-rational desire. Even a temporary indulgence in tragic pity and fear has a permanent deleterious effect on the soul, although it does not lead directly to any action.



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This paper argues that a radically different psychological theory, with important aesthetic implications, appears in the discussion of wine-drinking in Books 1 and 2 of Plato's Laws. The Road to the Crisis of psychoanalysis Chapter Three: The puzzling Freudian Doctrine Chapter Four: Dreams and the Psychology of the Wish Chapter Six: The Structural Core of the Freudian Doctrine: Ego Psychology and the Second Theory of Anxiety: The Psychology of Metapsychology: Toward a Theory of Psychoanalysis Chapter Nine: Eliciting the Theory of Psychoanalysis from the Freudian Text: A Change of Orientation Chapter Ten: The Replacement of the Catharsis Theory: With this book, Fayek a training psychoanalyst and clinical psychologist signals a new direction in psychoanalytic studies, one that will likely set in motion a massive and crucial refiguring of the Freudian canon in its entirety.

Fayek's critical gesture in this book is simple: Fayek is an independent thinker, and his status as such alone distinguishes him from the dominant voices in the main schools of contemporary psychoanalysis.