Toward a new ontology of art by means of comparing Aristotle's Poetics with Rhetoric

本研究的目的是通过比较亚里士多德在《诗学》中提出的"推理"或《修辞学》中的或然推理，其最终目的是为了理解艺术与世界的关系以及艺术在现实生活中的作用，这一点在语言学和逻辑学上都得到了证实通过四年的研究，我们可以在修辞和悲剧（以及一般的艺术）之间得出一个密切的类比，其推论是悲剧中事件的联系，在位置上与修辞中的推理相对应，呈现出现实世界的图像。在项目的最后阶段，重点是"hybris"的概念，这是研究的重点。在《修辞学2》第二章中，当学者们把它理解为"侮辱"或"攻击"时，他们不得不根据该章中不同的语境进行不同的翻译。决定性的问题是它是否包含恶意。对1378b23 - 35的文本和上下文的批判性分析表明，它意味着无恶意的“傲慢”。然后，它可以被归入"hamartia"或错误，因为一个傲慢的人没有适当地预见到什么后果，他的言行可能会导致其受害者。对混杂的这种解释在对索福克勒斯的《俄狄浦斯雷克斯》的考察中得到了证实，所有这一切都意味着，在假定世界原则上是可理解的基础上，演说和悲剧中的话语都以一种可能的方式，用虚构或推理来表现世界是如何运作的。结束我们关于艺术的讨论，艺术作品是现实世界的范例。

The aim of the present project was to settle the ontological status of a "probable or necessary" nexus of events which Aristotle discusses in his Poetics, by means of comparing it with his idea of "enthymema" or probable reasoning in Rhetoric, with a final objective of gaining an insight into the relationship of art to the world and into art's function in our actual life.It has been philologically as well as logically confirmed through the four years of research that a close analogy can be drawn between rhetoric and tragedy (and by extension art in general), with the corollary that the nexus of events in tragedy, corresponding in position to enthymema in rhetoric, presents an image of the actual world.At the final stage of the project the focus was on the concept of "hybris" which emerged as the pivot of the examination. When scholars took it to mean "insult" or "assault" in Chapter 2 of Rhetoric 2, they were obliged to translate it differently according to different contexts in the chapter. The decisive issue is whether it contains malice. Critical analysis of the text and context of 1378b23-35 has revealed that it means unmalicious "insolence". Then, it can be subsumed under "hamartia" or error, because an insolent person fails to duly foresee what consequence his words and deeds may cause to its victim. Such an interpretation of hybris has been verified in an examination of Sophocles' Oedipus Rex.All this implies that the discourse both in oration and tragedy represents in a probable manner, using fiction or enthymema, how the world works, on the assumption that the world is in principle intelligible. To conclude our discussion about art, a work of art is a paradigm of the actual world.