Acknowledgements
This volume results from the international conference “Relire la Poétique d’Aristote” held on May 31–June 2, 2022 at the École Normale Supérieure of Paris (ENS-PSL). Some chapters that could not be presented as conference papers have been added here: chapters 1 (E. Bouchard), 12 (G. Fiore), 13 (T. Cave), 22 (S. Halliwell), and the Epilogue (G. Navaud).
An earlier version of chapter 10 was published under the title “Tragedy Ends Unhappily: The Concealed Influence of Medieval Poetics on Early Modern Theory of Tragedy,” Horizonte NS 2, 2017, p. 23–37, DOI: http://hdl.handle.net/21.11108/0000-0007-C2D3-F. We are grateful to Enrica Zanin and the journal Horizonte for allowing its republication with modifications for the purposes of this volume.
An earlier version of chapter 19 appeared under the title “‘Che cosa è questo purgare?’ La catharsis tragique d’Aristote chez les poéticiens italiens de la Renaissance,” Études Épistémè 13, 2008, DOI: https://doi.org/10.4000/episteme.895. We are grateful to Teresa Chevrolet and the journal Études Épistémè for allowing its republication with modifications for the purposes of this volume.
The Introduction and chapters 4, 9, 10, 12, 17, and 23 were either translated or proofread by C. Jon Delogu. Chapters 2, 3, 5, 6, 7, 14, 16, 18, 19, 20, and 21 were translated by Kirsten Ellerby. Chapter 8 was translated by Moya Jones. Their work is greatly appreciated. The original French text of 14 of the chapters published in this book can be accessed at https://doi.org/10.6084/m9.figshare.28254047.
Financial support for the publication of this volume was granted by the Département des Sciences de l’Antiquité de l’ENS-PSL, the UMR AOrOc, and the Institut Universitaire de France. This volume also received an ANR grant as part of the program “Future Investment” (ANR-17-EURE-0008, EUR ArTeC).
We would like to thank for their commitment and helpful advice the team of Brill’s Companions to Classical Reception Series: Kyriakos Demetriou, Giulia Moriconi, the anonymous referee, and the copy editor.
A certain level of formatting standardisation has been imposed to ensure consistency across the volume, but individual stylistic distinctiveness has been respected.