Agnieszka Kuriata - Filologia angielska - Grupa II
WSTĘP DO LITERATUROZNASTWA
THE ROLE OF CATHARSISI IN RENAISSANCE PLAYS
The concept of catharsis was created by Aristotle. This term psychoanalytic meaning the release of repressed psychic energy, discharge nascent aggression arousal. Aristotle argued that the theater exists to be able to feel the catharsis. But according to Freud, psychoanalysis served such a role, assisted hypnosis. In his view, this process is a result of therapy, during which the hidden, unconscious experiences and conflicts are extracted and recalled to consciousness. As a result, the patient can relieve the associated emotions and gain conscious control over them. The catharsis were perceived as a way to deal with aggression. The assumption that you can discharge the emerging aggression arousal through execution of an act of aggression (catharsis right), watching someone else's aggression (catharsis replacement), or take some action against the replacement of aggression, such as physical activity, sports games or fantasies about violence (auxiliary catharsis).
For the period of the Renaissance, there time reflections on the excellence and beauty of the works of individual artists, as well as the concepts themselves. Ethical Interpretations - One of the most vital concept has proven to be an attempt is combine the concept of catharsis of ethical and moral function of art. In the Renaissance it was believed Generally That pity and fear,: which is experienced during the performance of tragedy in the theater, Allows viewers to draw lessons from the tragic misfortune of forms and taming Their passions. The viewer realizing the consequences of acts committed in overly aroused emotions felt fear or compassion. These factors just have the power to cleanse, but rather a tempering the viewer other affects the instruction flowing from the tragedy.
Medical interpretations - the interpretation seeks to solve the problem in a layer Hippocratic and refers to the use of this term by Aristotle in the medical sense . According to this theory, the last sentence of the definition of tragedy would be: " through pity and fear the tragedy frees viewers from this type of unwanted or excessive passions ." At first glance it may seem that it is a kind of tautology : the tragedy evokes pity and fear , which remove the same pity and fear . Meaning , however, is different here . The subject of purification is here for an emotional experience during the presentation of the subject of periodic while easing affects the viewer after the show. Freedom from excessive and dangerous feelings is a metaphor for medical and refers to the spiritual balance . Religious Interpretations - Refers to the interpretation of that "Politics" by Aristotle healing power of music and orgiastic dance,: which is the excessive excitation of Affect (eg, enthusiasm) release the patient from the effects of That Affect (enthusiasm, understood as the possession revealed by the deity). In an analogous way of pity and fear cleanses the viewer tragedy of excessive emotions deported by force majeure.
Interpretations aesthetic - these traditional interpretations have one common drawback. They examine the concept of catharsis in almost total isolation from the context of both the definition of tragedy , as well as the nature of the discussion in the Poetics , which are carried out there in other categories than ethical , medical and religious. This error decided to fix conducted over the last few years the study of ancient drama . R. S. Crane has - as one of the first - the interpretation in this way. He wrote: catharsis through pity and fear is the proper force (dynamis) tragedy or some of its variants discussed by Aristotle, is therefore a function that is not related causally to the recipient , but with the same dramatic plot structure, is what we experience when a man like us fall into misfortune as a result of the full course possible or necessary events. This is the formal cause of the tragic structure in the full sense of the word, that orders the three parts of the material (object, measure the way). As the emotional power of tragedy and also the first principle of its construction depends primarily and directly from the action, and in the second place, and indirectly , although sometimes significantly, from the language of poetry, music and the art of dramatic and theatrical.
On the basis of the presented interpretations can be drawn also some further conclusions, namely, that the cathartic process is directly related to the process of mimetic, but not be limited only to internal, aesthetic order, or quasi-ritual cleansing of the same events. It applies also for the recipient and the absurd are the grounds on which it was associated only with an intellectual explanation of events in the process of reception of works of art. It runs primarily in the emotional sphere. Catharsis while the objective of the mimetic.