.

, 2008.

4 ,

,
,
(

)

,

.

, .

, 1984,
.19.
2
,1447a8:

.
,1447a13
16:

,

,

.
I. Bywater, Aristotle on the Art of Poetry, Oxford 1909:
qualifies , what is
saidoftheclassasawholebeingopposedtothespecificdifferenceswhichrevealthemselves
initoncloserexamination. .
G.F.Else,AristotlesPoetics:TheArgument,Leiden1957,
.1316.
3
. .
,

,

.

,
.6566:

.
4
, 1462a 1118:

. [...]

.
5
, 1453b 811:

. .
.
,

6 .
,

,
,

(
) .

9

.

8 .

, . , 1992,
.5051:

, )

. .Belfiore,Pleasure,TragedyandAristote
lianPsychology,QlassicalQuarterly35,2(1985),350352.
6
, 1450b.1620:

.
I. Bywater, . .,
. 169:
: said of a work of art the word means no more
than to move or rivet the attention, and is thus the equivalent of our word attract or
fascinate,

.176:
isfrequentlyusedinthesenseofdependingonmeans
outsidetheartitself.
7
.

.15

.
8
,A1 184a1416:

. .

.
,

,
1989,
.63 . .
9 .

,
1999,
. 15:

,
. .
,

. .
,

.
.

, .,

,2004,
.364:

,

)

10 .
,
,
,

:
1.

. ,

.
,
,

.
2.

, 200b 1524:

.
10

.
3.

.
12

13

(
,
,
,
,

,

)

14

,
,

.
)

.
,
,

(place,Ort),

(space, Raum).
11

.
.

, .

, 2007.
12
,194a2123:

corpus,

)

St. Halliwell, Aristotelian Mimesis Reevaluated, Journal of the
HistoryofPhilosophy28(1990),487510.
13

),

,
,

.
14

.
,193a28b18.

11

15

.
)

16

19

18

.

,

17

,209a3133:

. H.S.Lang(TheorderofnatureinAristotles
Physics.PlaceandtheElements,Cambridge1998,
.75)

). .

.
,
(

,

,
,

).
,

,
.
,
2008.
16
,209a6:


.
,208b2729:

...
,209b2728:


.
17
,210a34:

.
, 1200b2021.
, 7261a17.

,336a1523:

,
2006,
.

,
.3845.
18
, 219a 1013:

( )


. . Dehn,Raum,Zeit,
ZahlbeiAristotelesvonmathematischenStandpunktaus,DieNaturphilosophiedesAristoteles
(
.G.A.Seeck),

WegederForschungCCXXV,Darmstadt1975,
.214215.
19
,219a1418:


.

.
15

.
)

21 .

20
.

22

,208b812:

: .Jam
mer, Concepts of Space. The History of Theories of Space in Physics, Cambridge Massachusetts
19692,
.19:OfgreatimportancefromourpointofviewisapassageinAristotle sPhysics
in which space is likened (using a modern expression) to a field of force: Moreover the
trendsofthephysicalelements(fire,earth,andtherest)shownotonlythatlocalityorplaceis
a reality but also that it exerts an active influence; for fire and earth are borne, the one up
wards and the other downwards, if unimpeded, each towards its own place, and these
termsupanddownImean,andtherestofthesixdimensionaldirectionsindicatesub
divisionsordistinctclassesofpositionsorplacesingeneral .Thedynamicalfieldstructure,
inherentinspace,isconditionedbythegeometricstructureofspaceasawhole.Space,asde
finedbyAristotle,namely,astheinnerboundaryofthecontainingreceptacle,is,sotospeak,
areferencesystemwhichgenerallyisofverylimitedscope.
21
lbert Einstein,

. Jammer, . .,
.
xiv:Itseemstomethattheatomictheoryoftheancients,withitsatomsexistingseparately
fromeachother,necessarilypresupposedaspaceoftype(b)[spaceascontainerofallmaterial
objects],whilethemoreinfluentialAristotelianschooltriedtogetalongwithouttheconcept
ofindependent(absolute)space.
22
, 212a 1416:

.

,

.
.
, .
,

, . , 1981,
.176

):

,

,

. []

.[]

20

.
)

(
)

23 .

.
,

,

24



.

25

23
. .

24
. .
25

,
,

.
,

,
.

, 2002,

,. .,
.2021.
,
,

.
,

.149178.

.
,

,

),
,

,

26
27

.
,

.
,

28

.
.

,

,

,

,

26

.

27
.
.

1974.
28
.

.


.J.Jones,OnAristotleandGreekTragedy,London1962,
.2425.
,1450b2123:

(. .,
.21)

. S. Melchinger, Das Theater der Tragdie, Mnchen
,1449a79.

30

,

.
.

31

.



.

,

,

,

,

32

33

.
29

,209a46:

[
]

.
30
. R. Flacelire,

,
.

.
,
. .

, 1987,
.235275.
, .

,
1988.
31
,1449b2627.

. .D.J.Jakob,Fictionality
andEffectiveness:TwoessentialcharacteristicsofLiteratureinAristolesPoetics,

52.1(2002),2735.
32

. D. W. Lucas, Aristotle Poetics, Oxford
1968,AppendixIV,Hamartia,
.299307.
33

. .
J.P.Vernant,

(
. .

), 1966,
.


,
. 101109.

,
846d 47:

.
29

.
.

34

,



,

. . .
,

,
1989,
. 33:

[
]
,

.
,Gl.Wickham,AHistoryoftheThea
tre,London19922,
.103:THEATRES.Architecture:WithinthreeyearsScamozzihadbeen
commissioned to provide Vespasiano Gonzaga, Duke of Sabbioneta, with a similar theatre
withinhisownpalace.WhatScamozzigavehimby1590wasabuildingonamuchreduced
scale,butwiththecentralarchofthefronsscenaeatVicenzawidened,andwiththetwoflank
ing doors placed closer to it. These openings allowed a single, continuous landscape to be
seenthroughtheminsteadoftheseparaterowsofhousefrontsdepictedinbasreliefandin
recedingperspectivevisiblethroughthefivedoorsofthetheatreinVicenza.By1618,when
GiambattistaAleotticompletedhistheatreintheFarnesePalaceinParma,thesethreedoors
had been merged into asingle, wide opening called the proscenium arch with ample space
behinditnotonlytodisplayasingle,paintedlandscape,buttochangeonesceneforanother.
Thisachievementmarksthestartofaneweraintheatricalrepresentationwhichreachedful
filment in what Victorians labelled graphically as the pictureframe stage. To understand
howandwhythisshouldhavehappenedweneedfirsttoappreciatethatEuclid streatiseon
geometry had been translated from Greek into Latin and published in Venice in 1482, four
years prior to the publication of Vitruvius De Architectura. This provided the necessary
mathematicalbasisforthemasteryofperspectivedrawingwhichwasitselfthesinequanon
forofferingaudienceslandscapesceneryinthetheatre.
34

10

,
35

36
.

,
.

,
,

)

(

). . M. Heath, The Universality of Poetry in Aristotles Poetics, L. P.

Gerson(ed.),Aristotle.CriticalAssessmentsIV,LondonandNewYork1999,356373.G.F.Else,
AristotlesPoetics:TheArgument,Leiden1957,
.305:Whatpoeticcanofferusisaviewof
thetypologyofhumannature,freedfromtheaccidentsthatencumberourvisioninreallife.It
canshowuswhatkindofthingsuchandsuchakindofmanwillnaturallysayordounder
givencircumstances. .

:

,

,
2007,

(
. 243):

.
36 .

,


, 1985,
.52:

:
,
,
,

.
. .

. .
.Kindermann,BhneundZuschauerraum.IhreZueinander
Ordnung seit der griechischen Antike, Wien 1963 (Sitzungsberichte der sterreichischen Aka
demiederWissenschaften,philologischhistorischeKlasse,Bd.242).
35

11

37

38
.

.

,

.
,. .,
.47:

.
38

.
37

,

,

12

:

39


:

,
,

39

,210b1011.

13