| Foreword |
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Aristotle's Coercive System of Tragedy |
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What is the Meaning of ``Imitation''? |
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What, then, is the Purpose of Art and Science? |
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Major Arts and Minor Arts |
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What does Tragedy Imitate? |
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Necessary Characteristics of Virtue |
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In What Sense can Theater Function as an Instrument for Purification and Intimidation? |
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The Ultimate Aim of Tragedy |
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A Short Glossary of Simple Words |
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How Aristotle's Coercive System of Tragedy Functions |
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Different Types of Conflict: Hamartia and Social Ethos |
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Machiavelli and the Poetics of Virtu |
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Machiavelli and Mandragola |
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Modern Reductions of Virtu |
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Hegel and Brecht: The Character as Subject or the Character as Object? |
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Characteristics of Dramatic Poetry, Still According to Hegel |
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Freedom of the Character-Subject |
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Does Thought Determine Being (or Vice Versa)? |
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Conflict of Wills or Contradiction of Needs? |
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Empathy or What? Emotion or Reason? |
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Catharsis and Repose, or Knowledge and Action? |
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How to Interpret the New Works? |
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The Rest Does not Count: They are Minor Formal Differences Between the Three Genres |
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Experiments with the People's Theater in Peru |
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Conclusion: ``Spectator,'' a Bad Word! |
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Development of the Arena Theater of Sao Paulo |
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Structures of the ``Joker'' |
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| Appendices |
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