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The Imitation Theory

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In his now classic conversations with Goethe, Johann Peter Eckermann describes how on February 26, 1824, the then 74-year-old prince of German literature showed him a series of engravings and drawings, pointing out what he considered the most excellent of each genre. Goethe also handed Eckermann a few etched sheets by the famous animal painter Roos, and asked him what he thought. A quick characterization of the etchings followed: “They were all of sheep, in every posture and situation. The simplicity of their countenances, the ugliness and shagginess of their fleece, were represented with the utmost fidelity to nature.” Upon which the aged genius reflected, as eloquently as meaningfully: ‘I always feel uneasy,’ Goethe said, ‘when I look at these beasts. Their state, so limited, dull, gaping and dreaming, excites in me such sympathy, that I fear I shall become a sheep and I almost think the artist must have been one. At all events, it is most wonderful how Roos has been able to think and feel himself into the very soul of these creatures, so as to make the internal character peer with such force through the outward covering. Here you see what a great talent can do when it keeps steady to subjects which are congenial with its nature’ (Eckermann, 1998, 46–7). These considerations immediately confront us with an important characteristic of visual art, i.e. its capacity for imitation or realistic representation. In the ensuing reflections, both poets emphasized time and again the realism and accuracy of Roos' depictions of not only sheep, but dogs, cats and animals of prey too. They pay particular attention to the resemblance between the etchings and reality. Roos's animal scenes are not simply equated with nature; they are also compared to it. It is the resemblance between the representation of nature and nature itself that demands all attention here. There is a suggestion of an “as if-relationship” to nature: apparently Roos's talent is that he, like no other, is able to create an illusion , to provide the spectator with an image in which the actual animals can be recognized .

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Further Reading

Classical sources on the theory of mimesis:.

Plato (428-348 BC), The republic , translated by Robin Waterfield, Oxford/New York: in Oxford University Press, 2008. (Originally published in 1994).

Google Scholar  

Aristotle, On poetics , translated by Seth Benardete and Michael Davis, South Bend, IN: St. Augustine's Press, 2002.

Classical source on the theory of imitation:

Charles Batteux, Les beaux-arts réduits à un même principe (The fine arts reduced to one single principle), Paris, in Aux Amateurs de livres, 1989 (Originally published in 1746).

Classical source on realism in film theory:

Andrè Bazin, What is cinema? , essays selected and translated by Hugh Gray; foreword by Jean Renoir; new foreword by Dudley Andrew, Berkeley, CA: University of California Press, 2004 (Originally published in English in 1967, in French 1958).

Classical sources on criticism of the theory of imitation:

Ernst Gombrich, Art and Illusion: a study in the psychology of pictorial representation , New York: Bollingen Foundation, Pantheon Books, 1961. Latest edition: London, Phaidon, 1968.

Nelson Goodman, Languages of art: an approach to a theory of symbols , Indianapolis, IN: Bobbs-Merrill, 1968. Chapter one contains his radical and well-known defense of conventionalism .

For interesting defenses of the neo-naturalist theory of pictorial representation:

Flint Schier, Deeper into pictures: an essay on pictorial representation , Cambridge/New York: Cambridge University Press, 1986.

Noël Carroll, Philosophy of art. A contemporary introduction , London/New York: Routledge, 1999.

Works on Recommended works on the theory of mimesis:

Göran Sörbom, Mimesis and art: studies in the origin and early development of an aesthetic vocabulary , Stockholm: Svenska bokförlaget (Bonnier), 1966.

Stephen Halliwell, The aesthetics of mimesis , Princeton, NJ: Princeton University Press, 2002.

Samuel IJsseling, Mimesis: on appearing and being , Kampen, The Netherlands: in Kok Phairos Pub. House, 1997.

Gunter Gebauer and Christoph Wolf, Mimesis: culture, art, society , Berkeley, CA: University of California Press, 1995.

Michael Taussig, Mimesis and alterity: a particular history of the senses , New York: Routledge, 1993.

Arne Melberg, Theories of mimesis , Cambridge: Cambridge University Press, 1995.

In the text on Giacometti I refer to two French Publications:

Alberto Giacometti, Écrits (in English: Writings ), presented by Michel Leiris and Jacques Dupin, Paris: Hermann, 1990.

Bernard Lamarche-Vadel, Alberto Giacometti , Paris: Nouvelles Éditions Françaises, 1984.

On Alberto Giacometti:

Herbert Matter and Mercedes Matter, Alberto Giacometti , London: Thames and Hudson, 1987; in New York: Harry N. Abrams, 1987.

James Lord, Giacometti: a biography , New York: Farrar-Straus-Giroux, 1985.

David Sylvester, Looking at Giacometti , New York: Henry Holt & Company, 1996.

Laurie Wilson, Alberto Giacometti: myth, magic and the man, New Haven, CT: Yale University Press, 2003.

For Goethe's reflection on Roos, see:

Conversations of Goethe with Eckermann , Cambridge, MA and New York, NY: Da Capo Press, 1998.

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(2009). The Imitation Theory. In: Thinking Art. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-5638-3_2

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2 The Imitation of Life in Ancient Greek Philosophy

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This chapter explores some ancient automata representing certain principal functions of soul as described by Aristotle: the nutritive capacity, common to plants, animals, and people; the capacities for locomotion, perception, and desire, shared by animals and humans; and, finally, the capacity for thought, specific to humans. Aristotle summarily dismisses the idea that artifacts could do what animals do, drawing a programmatic distinction between natural and artificial. He also compares the capacities of animals to the operation of devices, “automatic puppets.” Self-motion is one of the cases where Aristotle explicitly compares animals to devices. Hydraulic devices seem to have a particular appeal as models for the internal mechanisms governing animal action. There is not much evidence that the technology of the ancient world inspired ancient natural philosophers to investigate the natural world in the ways that seventeenth-century mechanical philosophers did.

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Home / Literary Criticism / Aristotle / Aristotle’s Concept of Imitation | Is Imitation Twice Away From Reality?

Aristotle’s Concept of Imitation | Is Imitation Twice Away From Reality?

Word imitation has great importance in literature. Aristotle explained the meaning of this word in order to defend poetry which is called Aristotle’s concept/theory of imitation. Although he was not the first to use this word yet he comes first in redefining its meanings. The word “imitation” was used as a synonym for a copy of copy before Aristotle. Plato used this word for the first time. He was of the considered view that poetry was a shadow of a shadow, thus, it was twice away from reality.

It is better to understand the meanings of imitation as demonstrated by Plato before discussing Aristotle’s concept/theory of imitation.

One thing should be remembered that poetry does not mean only modern poetry. It nowadays is a genre of literature but in the past, drama, comedy and epic poem was in poetic form. Furthermore, everything was called poetry and writers were called poets. Hence, when we (or Aristotle) mentions poets it should be considered every writer whether he is a dramatist, novelist or poet. Likewise, poetry means whole literature.

Plato’s Concept/Theory of Imitation:

Plato was against poetry and poets. He said that the poets used to present a copy of nature in poetry. He quoted an example of a painter and said that a painter first saw nature and then created its copy on the canvas. Plato was of the view that the world had been created from an idea; the idea was an original thing, whereas this world was its copy.

Let’s look at an example to clarify it; when a carpenter builds a chair, he has an idea in his mind, which can be called a blueprint. When he builds a chair, it is a copy of that idea. Similarly, this world was created from an idea, therefore, it was not original but a copy. A poet imitates nature in his poetry which is already a copy. Hence, he makes a copy of a copy. In this way, poetry is twice away from reality.

Aristotle’s Concept/Theory of Imitation:

Aristotle answered Plato and refuted charges against poets. He redefined the meanings of imitation. Regardless of that whole concept of idea and copy remained the same. In simple words, Aristotle agreed that the world was created from an idea and the world was its copy. He also agreed that a poet imitated reality/nature but the meaning of the word imitation did not mean mere copy. He did not consider poetry twice away from reality

Imitation is a Creative Process:

Imitation is a creative process in the eyes of Aristotle. He links poetry with music instead of painting. He says that poetry is pleasant just like a flute’s sound that is full of harmony, therefore, it is not right to compare poets with painters and poetry with painting. A poet, further says Aristotle, does not present things as they appear but bestows them his imagination. Hence, poetry is not the process of seeing things and simply converting them to words; a poet reinvents things with his imagination and experiences.  Aristotle’s concept/theory of imitation can be concluded in the following words:-

“objects which in themselves we view with disgust, we delight to contemplate when reproduced with minute fidelity: such as the forms of the most ignoble animals and dead bodies.” Aristotle – Poetics

Thus, poetry is more philosophical and more conducive to understanding than philosophy itself. He further says:-

“idealised representation of character, emotion, action—under forms manifest in sense.” Aristotle – Poetics

Thus, a poet does not tell a lie. He imitates things from his mental power which can touch the senses, therefore he brings nature closer to reality.

Three Modes of Imitation in Aristotle’s Concept/Theory:

Aristotle’s concept/theory describes three modes of imitation. The first chapter of the poetics is relevant in this regard, in which he tries to explain the mode of imitation. The important portion is reproduced as under:-

“Epic poetry and Tragedy, Comedy also and Dithyrambic poetry, as also the music of the flute and the lyre in most of their forms, are in their general conception modes of imitation. They differ, however, from one another in three respects—their medium, objects and the manner or mode of imitation, being in each case distinct.” Aristotle – Poetics

There are three modes of imitation in the eyes of Aristotle.

• Epic Poetry.

Poetry Presents Men in Action:

In tragedy and poetry, the manner of a poet is action, whereas, in the remaining one, his manner is narrative. Aristotle’s concept/theory of imitation emphasizes “Men in action”. Supernatural elements cannot be shown in dramatic forms on the stage, therefore, they can be included in epic poetry. Tragedy presents men better than they are but comedy presents them as worse. However, the purpose remains the same which is to imitate things with the power of imagination.

Realistic Poetry:

Aristotle has not mentioned the third form of poetry. Critics raise objections on it. They say that Aristotle is not aware of the third form i.e. reality. Many dramatists, in the modern world, are sketching realism but it does not mean that they have no creative powers. Though the reality is being presented yet there are feelings and emotions in it. Moreover, emotions and feelings can only be added if the poet/dramatist has good imaginative powers. A true poet illustrates the pain and sorrows of life, which are real but always effects.

Imitation Vs. Reality and History:

If imitation is the name of copying facts then there must be no creativity in poetry. As mentioned earlier, Aristotle argues that a poet presents men in action. He presents men as they were or are or as they ought to be. If men are being presented as they are without any blend of imagination and creative power then it is not poetry but history. Creativity differentiates history from poetry. A historian may also write about the sorrows and pains, suffered by humans, but it would not necessarily be filled with emotions. The strong power of imagination is required to convert ordinary and simple incidents to extraordinary events so that they cause “catharsis” . Aristotle’s redefined “imitation” is the only concept/theory, through which poetry becomes highly effective.

The upshot of the above discussion is that Aristotle encouraged poets to write poetry. He blows a new soul to the word “imitation”. Plato’s charges against the poets have successfully been refuted by Aristotle in his book “Poetics”. Aristotle’s concept/theory of imitation shows the world that it is not merely a procedure of copying things but a creative process, which requires high imaginative powers. Hence, it cannot be called duplicating things. It is a process of creating something astonishing from ordinary things with the help of a strong vision. A poet, hence, through imitation brings things closer to reality instead of taking them twice away from reality.

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"The Concept of Imitation" Propounded by Aristotle and Plato and the Criteria of Imitation in Aristotle's poetics

According to Aristotle's theory, moral qualities, characteristics, the permanent temper of the mind, temporary emotions and feelings are all action and so objects of poetic imitation. Poetry may imitate men as better or worse than they are in real life or imitate as they really are. Aristotle did not invent the term "Imitation". Plato was the first to use the word in relation to poetry but Aristotle breathed it into a new definite meaning. So poetic imitation is no longer considered mimicry. It is regarded as an act of imaginative creation by which the poet draws his material from the phenomenal world and makes something new out of it. Aristotle says, " epic poetry and tragic poetry, comedy too, dithyrambic poetry and also the music of the flute and the lyre in most of their forms are in their general conception modes of imitation. Aristotle says "Imitation" doesn't mean servile copying. In general terms, it is criticized because

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Mimesis, translated as “imitation,” is the process by which a poet, artist, or imitator incorporates chosen features of an original into his or her own work (mimema) in such a way that the work has a greater effect, which the guardians, who are the leaders of tomorrow, are likely to copy. Plato illustrates that mimesis is an emulation of the natural world. This paper discusses Plato’s views on imitation in both art and actual human conduct, while attempting to find the relationship between the two forms of imitation. Specifically, it will examine the similarities and differences between these two types of imitation. The paper concludes that imitation is dangerous when a poet falsifies his or her art, but is beneficial when the poet truly depicts the gods and the heroes who have a significant influence on guardians.

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Aristotle’s theory of Imitation and Catharsis | Aristotle’s Poetics

Aristotle’s “Poetics” is an important work in the history of English literary criticism. It was developed as an extension together with an evaluation of Plato’s “Republic” . According to Plato, mimesis was a delusion, a false copy that was far removed from reality. On the other hand, according to Aristotle, mimesis was “natural” .

Aristotle classified mimesis not only as an instinct that is to be discovered in people even as a child but he also emphasizes it as one of the crucial characteristics which forms us what we are as mankind and which differentiates us from other animals. So in Aristotle’s view, imitation is neither a copy nor unimportant.

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Aristotle’s concept of imitation

Aristotle replies to Plato’s accusation that poetry is two-times removed from reality. According to Plato, imitation is simply a copy of reality. But according to Aristotle, Imitation is not just merely a copy of reality, but the recreating or revamping of it; it includes materials from nature and by the imaginative power of the poet, transforming or refracting them into something new. So for Aristotle, imitation is the recreation of life . Thus rather than only copiers, poets and artists are creators; they construct an ideal world from this existing world. Therefore, even an unpleasant thing well-copied turns into a source of delight and happiness.  

Read More: Aristotle’s concept of tragedy

Aristotle states that every branch of knowledge is a product of imitation because as human beings we all gather or acquire knowledge through imitation. However, Aristotle distinguishes between different types of knowledge. For example, history gives us all the knowledge that has already occurred or happened, but a poet tells us what might occur or happen. Thus the poet constructs or creates something that formerly did not happen. Therefore, poetic imitation is not just a photographic representation. It is the probable truth of nature. The poet emulates the present nature but he does not merely produce a copy of that nature. He produces an ideal world that is an imitation of the actual world.

Aristotle’s concept of Catharsis

Among the factors why Plato criticized mimetic poetry on the grounds that it evoked emotions and therefore repressed the working of logic and reason. In his famous work “Poetics”, Aristotle employs Plato’s concept as an escape and produces his own theory of Catharsis. Aristotle acknowledged that Tragedy , which is a form of mimetic art, does surely causes emotions such as pity and terror. But Aristotle stated that evoking even such distasteful feelings like pity and terror, does not create any difficulties. They do not have any detrimental consequences. His explanation is that a sensible and logical man experiences a catharsis or purification of these distasteful feelings when he experiences them in the form of an imitative product.

Catharsis as a process of purgation

There are several contrasting explanations as regards to why Aristotle believes catharsis as a useful final product of tragedy.

A group of critics consider Catharsis as an exercise of purification. This purification concept is primarily connected with the German critic Jacob Bernays, who proposed that the pity and terror stirred in a tragedy work just like “pharmakon” . This Greek word “pharmakon” from which the term “pharmacy” originated can be explained in two ways. It can be explained concurrently as medication and poison. The same thing which is noxious when regulated in a well-balanced amount can work as a medicine and can heal the repercussions of that poison. Thereby we can say that Tragedy by evoking emotions such as pity and terror in a well-balanced way assists purify the surplus of these destructive and dangerous emotions. 

Catharsis as a learning procedure

Pity and terror when experienced in actual life are difficult to manage and they can clearly overwhelm us. But if we experience an imitative product, such as tragedy, we can discover and learn pity and terror from an adequate distance. By frequently experiencing the feelings such as  pity and terror from an adequate distance the audience able to learn together with edify his feelings. It is a subject of constant habituation. So, as it is a learning procedure the more you experience these feelings, the more you master the proper things onto which you have to devote these emotions.

So in the end we can say that both of these explanations can be employed to criticize Plato. For instance, if catharsis is explained as purification then tragedy does not repress logic and rationality by evoking emotions. Instead a logical and reasonable man is liberated from the adverse reactions of poisonous emotions through the purification of those feelings by catharsis. Catharsis purges or purifies noxious emotions and that is what makes reason and logic more than ever achievable. Furthermore, if the catharsis is explained as a learning procedure, even then logic and rationality are not repressed because catharsis then transforms into a teaching process by which a young audience could master to control his emotions logically towards the proper things. 

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Aristotle’s Theory of Imitation

Aristotle didn’t invent the term “imitation” . Plato was the first to make use of the phrase in relation with poetry, however Aristotle breathed into it a new particular meaning. So poetic imitation is now not thought-about mimicry, however is thought to be an act of imaginative creation by which the poet, drawing his materials from the exceptional world, makes one thing new out of it.

In Aristotle’s view, principle of imitation unites poetry with different fine arts and is the widespread basis of all of the fine arts. It thus differentiates the fine arts from the opposite class of arts. While Plato equated poetry with painting, Aristotle equates it with music. It is now not a servile depiction of the looks of things, however it turns into an illustration of the passions and feelings of men that are additionally imitated by music. Thus Aristotle by his concept enlarged the scope of imitation. The poet imitates not the surface of things however the actuality embedded inside. In the very first chapter of the Poetic, Aristotle says:

“Epic poetry and Tragedy, Comedy also and Dithyrambic poetry, as also the music of the flute and the lyre in most of their forms, are in their general conception modes of imitation. They differ however, from one another in three respects – their medium, the objects and the manner or mode of imitation, being in each case distinct.”

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The medium of the poet and the painter are completely different. One imitates by means of form and color, and the opposite by means of language, rhythm and harmony. The musician imitates by means of rhythm and harmony. Thus, poetry is extra akin to music. Further, the style of a poet could also be purely narrative, as within the Epic, or depiction by means of action, as in drama. Even dramatic poetry is differentiated into tragedy and comedy accordingly because it imitates man as higher or worse.

Aristotle says that the objects of poetic imitation are “men in action” . The poet represents men as worse than they’re. He can symbolize men higher than in actual life based mostly on materials equipped by history and legend relatively than by any living figure. The poet selects and orders his materials and recreates actuality. He brings order out of Chaos. The irrational or unintended is eliminated and a spotlight is concentrated on the lasting and the significant. Thus he provides a reality of a super form. His thoughts just isn’t tied to actuality:

“It is not the function of the poet to relate what has happened but what may happen – according to the laws of probability or necessity.”

History tells us what truly occurred; poetry what might occur. Poetry tends to precise the common, history the actual. In this manner, he reveals the prevalence of poetry over history. The poet free of the tyranny of details, takes a bigger or common view of things, represents the common within the specific and so shares the thinker’s quest for ultimate reality. He thus equates poetry with philosophy and reveals that each are means to a better reality. By the phrase ‘universal’ Aristotle signifies:

“How a person of a certain nature or type will, on a particular occasion, speak or act, according to the law of probability or necessity.”

The poet consistently rises from the actual to the final. He studies the actual and devises rules of common application. He exceeds the boundaries of life with out violating the important laws of human nature.

Elsewhere Aristotle says, “Art imitates Nature” . By ‘Nature’ he doesn’t imply the outer world of created things however “the creative force, the productive principle of the universe.” Art reproduce primarily an inward process, a physical power working outwards, deeds, incidents, scenario, being included below it as far as these spring from an inward, act of will, or draw some exercise of thought or feeling. He renders men, “as they ought to be” .

The poet imitates the inventive technique of nature, however the objects are “men in action” . Now the ‘ action’ could also be ‘external’ or ‘internal’ . It would be the action throughout the soul brought on by all that befalls a person. Thus, he brings human experiences, feelings and passions throughout the scope of poetic imitation. According to Aristotle’s concept, ethical qualities, traits, the everlasting mood of the thoughts, the short-term feelings and emotions, are all action and so objects of poetic imitation.

Read About: What is Theater of the Absurd?

Poetry might imitate men as higher or worse than they’re in actual life or imitate as they are surely. Tragedy and epic characterize men on a heroic scale, higher than they’re, and comedy represents males of a lower sort, worse than they’re. Aristotle doesn’t talk about the third possibility. It signifies that poetry doesn’t purpose at photographic realism. In this connection R. A. Scott-James points out that:

“Aristotle knew nothing of the “realistic” or “fleshy” school of fiction – the school of Zola or of Gissing.”

Abercrombie , in distinction, defends Aristotle for not discussing the third variant. He says:

“It is just possible to imagine life exactly as it is, but the exciting thing is to imagine life as it might be, and it is then that imagination becomes an impulse capable of inspiring poetry.”

Aristotle by his concept of imitation answers the charge of Plato that poetry is an imitation of “shadow of shadows” , thrice faraway from reality, and that the poet beguiles us with lies. Plato condemned poetry that within the very nature of things poets don’t know of reality. The phenomenal world just isn’t the truth however a duplicate of the truth within the thoughts of the Supreme. The poet imitates the objects and phenomena of the world, that are shadowy and unreal. Poetry is, subsequently, “the mother of lies” .

Aristotle, quite the opposite, tells us that art imitates not the mere exhibits of things, however the ‘ideal reality’ embodied in very object of the world. The technique of nature is a ‘creative process’ ; in every single place in ‘nature there is a ceaseless and upward progress’ in all the things, and the poet imitates this upward motion of nature. Art reproduces the unique not as it’s, however because it seems to the senses. Art strikes in a world of pictures, and reproduces the exterior, in accordance with the thought or picture in his thoughts. Thus the poet doesn’t copy the exterior world, however creates in accordance with his ‘ idea’ of it. Thus even an unpleasant object nicely imitated turns into a source of delight. We are informed in “The Poetics” :

“Objects which in themselves we view with pain, we delight to contemplate when reproduced with minute fidelity; such as the forms of the most ignoble animals and dead bodies.”

The actual and the perfect from Aristotle’s viewpoint should not opposites; the perfect is the true, representation of probability and accident, a purified type of actuality. And it’s this increased ‘reality’ which is the thing of poetic imitation. Idealization is achieved by divesting the true of all that’s unintentional, transient and specific. Poetry thus imitates the perfect and the common; it’s an “idealized representation of character, emotion, action – under forms manifest in sense.” Poetic reality, subsequently, is increased than historic reality. Poetry is extra philosophical, extra conducive to understanding than Philosophy itself.

Thus Aristotle efficiently and eventually refuted the charge of Plato and offered a defense of poetry which has ever since been utilized by lovers of poetry in justification of their Muse. He breathed new life and soul into the idea of poetic imitation and confirmed that it’s, in actuality, an inventive process.

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Aristotle Research Paper Topics

This page provides a comprehensive list of Aristotle research paper topics divided into ten distinct categories, each offering a deep dive into different aspects of Aristotle’s vast body of work and philosophical principles. Aristotle’s philosophies, spanning from metaphysics and ethics to politics and rhetoric, have profoundly influenced various facets of human existence and intellectual thought. This article serves as a thorough guide, highlighting the importance of Aristotle and the multitude of research paper topics encompassed by his legacy. Additionally, we will introduce iResearchNet’s writing services, a crucial resource for students wishing to commission a custom research paper on any topic related to Aristotle. With features such as expert degree-holding writers, in-depth research, custom formatting, and a money-back guarantee, iResearchNet stands as a trusted and user-friendly solution for students’ academic needs.

100 Aristotle Research Paper Topics

The vast range of Aristotle’s contributions to various fields of knowledge, from philosophy and science to arts and politics, makes him a fascinating subject for academic research. This page provides a comprehensive list of Aristotle research paper topics divided into ten distinct categories, each offering a deep dive into different aspects of Aristotle’s thoughts and influences.

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• The concept of substance in Aristotle’s Metaphysics.
• Aristotle’s theory of potentiality and actuality.
• The role of the unmoved mover in Aristotle’s metaphysical framework.
• Aristotle on the nature of reality: Being and becoming.
• A comparison of Aristotle’s and Plato’s metaphysics.
• The concept of form and matter in Aristotle.
• Aristotle’s views on the existence of God.
• The role of teleology in Aristotle’s Metaphysics.
• Aristotle’s critique of Plato’s theory of forms.
• The concept of change in Aristotle’s Metaphysics.
• The concept of the golden mean in Aristotle’s Nicomachean Ethics.
• Aristotle’s view on the nature of happiness.
• The role of virtue in Aristotle’s ethical theory.
• Aristotle’s views on the relationship between ethics and politics.
• A comparison of Aristotle’s and Kant’s ethical theories.
• The concept of phronesis (practical wisdom) in Aristotle’s ethics.
• Aristotle on the nature of moral responsibility.
• The role of friendship in Aristotle’s Nicomachean Ethics.
• Aristotle’s views on the nature of the good life.
• The concept of eudaimonia in Aristotle’s ethical theory.
• Aristotle’s view on the role of the citizen in the state.
• The concept of the best government according to Aristotle.
• Aristotle’s critique of Plato’s Republic.
• The role of the middle class in Aristotle’s political theory.
• Aristotle’s views on slavery and its role in society.
• The concept of justice in Aristotle’s Politics.
• Aristotle’s views on the nature of law and its role in society.
• The role of education in Aristotle’s political theory.
• Aristotle’s views on the relationship between the individual and the state.
• A comparison of Aristotle’s and Machiavelli’s political theories.
• The role of ethos, pathos, and logos in Aristotle’s Rhetoric.
• Aristotle’s views on the nature of tragedy in his Poetics.
• The concept of catharsis in Aristotle’s theory of tragedy.
• Aristotle’s influence on later rhetoricians and literary theorists.
• A comparison of Aristotle’s and Plato’s views on poetry.
• The role of imitation (mimesis) in Aristotle’s Poetics.
• Aristotle’s views on the role of the artist in society.
• The concept of the tragic hero in Aristotle’s Poetics.
• Aristotle’s influence on Renaissance rhetoric and poetics.
• The role of plot (mythos) in Aristotle’s theory of tragedy.
• Aristotle’s contributions to biology and its influence on later science.
• Aristotle’s views on the nature of the universe in his Physics.
• The concept of the four causes in Aristotle’s natural philosophy.
• Aristotle’s contributions to the development of logic.
• The influence of Aristotle’s scientific writings on medieval science.
• Aristotle’s views on the nature of time and space.
• The role of observation and experience in Aristotle’s scientific method.
• Aristotle’s influence on the development of medieval astronomy.
• A comparison of Aristotle’s and Galileo’s views on physics.
• Aristotle’s views on the nature of life and its origins.
• Aristotle’s views on the nature of the soul in his De Anima.
• The concept of nous (intellect) in Aristotle’s philosophy of mind.
• Aristotle’s views on perception and its role in knowledge.
• The concept of the active intellect in Aristotle’s philosophy of mind.
• A comparison of Aristotle’s and Descartes’ views on the mind-body problem.
• Aristotle’s views on the nature of consciousness.
• The role of imagination in Aristotle’s philosophy of mind.
• Aristotle’s views on the nature of thought and its relationship to language.
• The influence of Aristotle’s philosophy of mind on later philosophers.
• Aristotle’s views on the nature of mental states and their causes.
• Aristotle’s influence on Thomas Aquinas and medieval scholasticism.
• The reception of Aristotle’s works in the Islamic world.
• Aristotle’s influence on the development of Renaissance philosophy.
• The role of Aristotle in the development of modern science.
• A comparison of Aristotle’s and Hegel’s dialectical methods.
• Aristotle’s influence on the development of modern ethics.
• The reception of Aristotle’s works in the 19th and 20th centuries.
• Aristotle’s influence on the development of modern logic.
• The role of Aristotle in the development of analytic philosophy.
• Aristotle’s influence on contemporary philosophy.
• A comparison of Aristotle’s and Plato’s views on the nature of reality.
• The influence of Plato on Aristotle’s thought.
• A comparison of Aristotle’s and Plato’s views on ethics.
• The influence of Aristotle’s works on later Platonic philosophers.
• A comparison of Aristotle’s and Plato’s views on politics.
• The influence of Aristotle on the development of Neoplatonism.
• Aristotle’s views on Plato’s philosophy of mind.
• A comparison of Aristotle’s and Plato’s views on art and beauty.
• The influence of Aristotle’s rhetoric on Plato’s dialogues.
• The concept of the beautiful in Aristotle’s philosophy.
• Aristotle’s views on the role of art in society.
• The concept of imitation (mimesis) in Aristotle’s aesthetics.
• Aristotle’s views on the nature of music and its effects on the soul.
• The concept of catharsis in Aristotle’s aesthetics.
• A comparison of Aristotle’s and Kant’s views on aesthetics.
• Aristotle’s influence on later theories of art and beauty.
• The role of tragedy in Aristotle’s aesthetics.
• Aristotle’s views on the nature of comedy.
• The influence of Aristotle’s aesthetics on Renaissance art.
• The relevance of Aristotle’s ethics in the modern world.
• Aristotle’s influence on contemporary theories of virtue ethics.
• The relevance of Aristotle’s political theory in the contemporary world.
• Aristotle’s influence on modern theories of rhetoric and communication.
• The relevance of Aristotle’s philosophy of mind in the contemporary philosophy of mind.
• Aristotle’s influence on contemporary theories of metaphysics.
• The relevance of Aristotle’s scientific method in modern science.
• Aristotle’s influence on contemporary theories of aesthetics.
• The relevance of Aristotle’s views on education in the contemporary world.
• Aristotle’s influence on modern theories of law and justice.

Aristotle’s works have left an indelible mark on the intellectual history of the Western world and continue to be influential in a variety of fields, from philosophy and science to politics and the arts. The plethora of Aristotle research paper topics listed above showcases the depth and breadth of his thought and its ongoing relevance in the modern world. Whether you are interested in his contributions to metaphysics, ethics, politics, science, art, or his influence on later thinkers, there is a wealth of research topics to explore. And remember, this is just a starting point – the world of Aristotle research paper topics is as vast and varied as the philosopher’s own works.

The Range of Aristotle Research Paper Topics

Aristotle, born in 384 BCE in Stagira, a Greek colony in Macedonia, is undoubtedly one of the most influential figures in the history of Western philosophy. A student of Plato and the tutor of Alexander the Great, Aristotle’s contributions spanned across various fields, including metaphysics, ethics, politics, science, and aesthetics. His comprehensive system of thought laid the foundation for much of Western philosophy and science for nearly two millennia. The prolific nature of his works and the broad spectrum of topics he covered make Aristotle research paper topics incredibly varied and relevant even in contemporary discourse.

Aristotle’s Significance in Philosophy

Aristotle’s significance in philosophy is monumental. His work in metaphysics, which involves the study of the nature of existence and reality, is foundational. His concept of ‘substance,’ and distinctions between ‘form’ and ‘matter,’ ‘potentiality’ and ‘actuality,’ are fundamental to metaphysical inquiry. His ethical thought, centered around the concept of ‘eudaimonia’ or flourishing, has played a significant role in the development of ethical theory. In politics, his analysis of different forms of government, the role of the citizen, and the importance of a well-rounded education are still discussed and debated today. His work in the natural sciences, though largely outdated by modern standards, laid the groundwork for empirical observation and classification. In the realm of aesthetics, his analysis of tragedy in ‘Poetics’ is a foundational text that continues to be studied by students of literature and drama. This vast array of contributions means that Aristotle research paper topics can range from the deeply philosophical to the practically applied.

Broad Range of Aristotle Research Paper Topics

The broad range of research paper topics that Aristotle offers is a testament to his comprehensive approach to understanding the world and human existence. In metaphysics, Aristotle research paper topics could delve into his concept of substance, his argument for the existence of a prime mover, or his critique of Plato’s theory of forms. Aristotle’s ethics offers a wealth of research topics, from his concept of the golden mean to his views on friendship and its role in a flourishing life. Aristotle’s politics provides a fertile ground for research on topics such as his views on the best form of government, the role of the middle class, and the relationship between ethics and politics.

In the realm of rhetoric and poetics, Aristotle research paper topics could explore his concepts of ethos, pathos, and logos, his theory of tragedy, or his views on imitation and its role in art. Aristotle’s contributions to science provide a historical perspective on the development of scientific thought, with research topics including his classification of living beings, his views on the nature of the universe, or his contributions to the development of logic. Aristotle’s philosophy of mind offers a rich array of research topics, from his views on the nature of the soul to his theories on perception and consciousness. The influence of Aristotle on later philosophers is another area ripe for exploration, with research topics including his impact on medieval scholasticism, the reception of his works in the Islamic world, or his influence on modern philosophy.

In the area of art and beauty, topics could range from Aristotle’s views on the nature of beauty, the role of art in society, or the concept of catharsis in his theory of tragedy. Finally, modern interpretations and applications of Aristotle’s ideas provide a wealth of research topics, from the relevance of his ethics in the modern world to his influence on contemporary theories of rhetoric, philosophy of mind, metaphysics, aesthetics, or law and justice. The broad range of Aristotle research paper topics showcases the depth and breadth of his thought and its ongoing relevance in the modern world.

Aristotle’s contributions to various fields of knowledge are incredibly vast and have left a lasting impact on Western thought. His works have influenced numerous disciplines, from philosophy and science to politics, art, and more. This broad spectrum of influence provides a wide array of Aristotle research paper topics that are not only historically significant but also relevant to contemporary debates and discussions. Whether you are interested in delving into the intricacies of his metaphysical concepts, exploring his views on ethics and politics, analyzing his contributions to rhetoric and poetics, or examining his influence on later philosophers and contemporary thought, there is a wealth of Aristotle research paper topics to choose from.

In conclusion, the importance of Aristotle in the history of philosophy and the wide range of potential research areas he offers cannot be overstated. His comprehensive approach to understanding the world and human existence has left a lasting legacy that continues to be explored and debated by scholars and students alike. Therefore, selecting an Aristotle research paper topic offers an opportunity to engage with the works of one of the most influential thinkers in human history and to contribute to the ongoing discourse surrounding his ideas.

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Plato and Aristotle’s Theory of Imitation

An imitation of an idea or a concept is just a copy of its reality. “Mimesis”, which means imitation, was essentially a Greek word that means, “copying” or “imitating”. Both Aristotle and Plato see imitation pretty differently.

Plato would simply believe in what existed without trying to explain it, or look for any deeper meaning. He argues that there are three types of imitation. The form of something, the existing object itself, and the depiction of the object. Thus, there is a creator for each of them.

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Starting with the form. God has created “the form”, which is the ideal version of something, God is the only one who can truly create this, all that we can do is think about it and imagine what it is like. Plato says that thinking about the ideal version of something, and focusing on it, is very important. He tells us that that in our everyday life, we can more easily avoid doing the wrong thing, and sticking to the right thing by imaging what we think said thing should be like. If everyone does this, it would make the world better.

Next there is the the existing object. The real, physical, tangible object. The craftsperson is the one that created this. The craftsperson is the one that actually creates said object and works with the raw material.

Finally we have the artist, who creates the depiction of the object. They create a version that’s real, but not as real as the existing object itself. They create a representation, or imitation of the object.

Plato believes that out of these three types of imitation, the one that is the most real, is “the form”, or, the idea of something. When we think of the form of something, it’s always a unity, always the same. Whereas the object itself is not something that we can materially or physically encounter. This is because the form is not actually tangible or real, it doesn’t have concrete being, instead, it has an ideal being. Plato thinks that when a craftsperson is making whatever it is that they are making, they look to the form, in order to get an idea for what said thing should look like.

Aristotle on the other hand, has a bit of a different view. Aristotle would question everything presented to him, and look for the deepest, smallest meaning behind it. He was a little bit more open minded. His theory shows that different forms of art can actually be useful to society. He believes that by thinking about different versions of something, it will cause there to be more than one ideal version of said object. This will widen society’s education, and that will make people happier.

According to Aristotle, imitation is common to all types of art. He considers poetry as the said art, and he divides it into three categories: Comedy, Epic, and Tragedy. Poetics was thought to have originally been two separate books, one on Tragedy, and one on Comedy. Unfortunately, portions of Aristotle’s works have been lost, leaving us only with the portion of his work on Tragedies today.

Aristotle defines a Tragedy as, “Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear affecting the proper purgation of these emotions. ” (Aristotle)

While tragedies are dramatic, epics are usually told in a narrative form. To further help understand Aristotle’s theory, here are some similarities and differences between an epic and a tragedy.

Starting with some similarities, both tragedies and epics agree that there needs to be a unity of plot. It should focus on one story in particular throughout the entire plot. The plot must also either be simple plot, where everything goes exactly the way that the hero intended for it to go, or a complex plot, where somewhere along in the story, the hero’s intentions get disrupted.

As for differences, epics are generally longer than tragedies, this is because epics can be expanded more, focusing in on the smaller details. The second difference is that an epic only has one meter, a heroic meter, whereas a tragedy has different, multiple meters.

Aristotle considers a Tragedy superior to an Epic.

Even though Plato taught Aristotle, and Aristotle was one of the finest students at Plato’s Academy, Aristotle ended up taking a different viewpoint than Plato. There are many reasons that could have caused this, but a main factor is the time period in which they grew up. Plato was born in 427 BC, while Aristotle was born in 384 BC. That would make Plato a little more than 40 years older than Aristotle, and a lot can change in 40 years.

Plato grew up an Athenian, with noble Athenian lineage on both sides of his family during the Peloponnesian War. “From 431 to 404, engulfing most of the Greek world at one time or another during its generation-long extent. Extraordinary in Greek history for its protracted length, the deaths and expenses of this bitter Greek-on-Greek conflict shattered the social and political harmony of Athens, sapped its economic strength, decimated its population, and turned its citizens’ everyday lives upside down.” (Erenow) It’s quite easy to see how Plato’s view of most things took a more serious route. There was, nowhere in his lifestyle, enough room to fit in time for “expanding your education to be happy”, nor was there time for imagining anything other than what was perfect, real, and noble.

Just a few decades after the Peloponnesian War (431–404 BC), Aristotle was born. We remain unsure about most of his early life, but we do know that he was inspired and influenced by his father, who was a well known physician. We can easily see here as well, how Aristotle, growing up, was influenced and showed how to think about more than one perspective on many different things.

I can clearly see where Plato is coming from, and his theory makes sense. There is the perfect version of something, which only God can see and create. Next there is the craftsperson, who can imagine the ideal version of something and create the real version of it. Finally, there is the artist, that creates a depiction of the object. A version that’s real, but not as real as the object itself.

Although what Plato believes makes sense, I would have to say that I agree more with Aristotle’s theory. Different forms of art and ways of thinking or envisioning something, can actually better society. By not limiting your mind to see only perfect version of something, you don’t constantly feel the pressure of living up to the ideal standard. God is the only one who is truly perfect, and we, as mere humans, will never be able to live up to that standard.

Although God forgives us of our sins, we were still born with a sinful nature, we will continue to sin time and time again. 1 John 1:7-8 says, “But if we walk in the light, as he is in the light, we have fellowship with one another, and the blood of Jesus his Son cleanses us from all sin. If we say we have no sin, we deceive ourselves, and the truth is not in us.”

In spite of the fact that I agree more with Aristotle’s theory, I were going to try to control a group of people, especially in today’s society, I would use Plato’s theory. Today’s generation truly is the “look at me” society. They only care about themselves, and what they can get to show off to everyone else. Unfortunately, people judge those around them materially, by what they look like, what they have, and their financial status- all thing that do not go beyond this lifetime, and only last a short while here on earth.

There is even quite a large dubiety of piety in our world around us. It’s easy to fall into this category. Being a part of the world is easy. God also tell us that the way of the world is temporary, but if we choose to believe and side with him, we will have eternal life in paradise. 2 Corinthians 7:10 says, “Godly sorrow brings repentance that leads to salvation and leaves no regret, but worldly sorrow brings death.”

Plato’s theory would help to keep society level and focused on what is really important, God, and what His word says. We must keep in mind that everything we are doing is for His glory, and we will never be able to live up to His good and perfect standards.

Works Cited

• Aristotle: Poetics, www.english.hawaii.edu/criticalink/aristotle/gloss/gloss6.html.
• Erenow, Erenow. “The Peloponnesian War and Its Aftermath at Athens.” Erenow.com, 2015, erenow.com/ancient/ancient-greece-from-prehistoric-to-hellenistic-times/8.html.

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