First, it is in the Republic"s Book II that the discussion on the imitation and the posterior expulsion of the poet and painter of kalipolis stars and the homeric narrative about the behaviour of the gods is called to the center of the argument on justice. The assertion that the deity is essentially good and that is the goodness divine that must be played by poetry, it puts the heirs of the tradition of Homer out of the city built by Socrates and his friends. In addition, Aristotle, in his studies on the imitation, the poetics is displaced from the ontological field for the art field and he putted in the centre of debate the necessary elements for the success of the poet and his work that, rather than be seen as empty imitation ,it is understood as an art that can educate. However, the tragedies and comedies of the century V and beginning of the century IV BC was playing during the Peloponnesian War, in the Great Dionysian, it are liable to a large extent on the context to which belonged, and it is, therefore, the context will be studied. In fact, the Dionysian festivals were great moments for the spread of the unity of Democratic polis , and demonstration of the Athens powerfull military and economic in front of the allied. In that sense, the intent of the research is to seek to understand the different assumptions and conclusions that Plato and Aristotle come about the tragic and comic poetry, then, through the analysis about the aristophanic comedy and the euripidean tragedy , we can find the elements that allow us to fit them as genders of transgression against the democratic system in which they were interpreted.
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