ABSTRACT

The concept of anagnorisis obeys the extreme logification of the aesthetic that has produced such enormous consequences in the history of art theory. Aristotle uses the concept of recognition, anagnorisis, in order to define the subject of tragedy the hero and his or her destiny through an essentially epistemological moment: the insight that takes place within. According to Aristotle, history only holds onto what has really happened or what happens as a rule, and tragedy describes what always happens according to necessity or probability that is, it is a matter of logical order, not empiricism. Hegel's philosophical theory of tragedy also proves exemplary because it is fundamentally anti-tragic or post-tragic. As fully and explicitly as may be conceived, it performs the basic theoretical gesture against the tragic phenomenon. Hegel notes as in his theory or, in the rhetoric of his theory but he failed to draw the consequences with respect to the impossibility of grasping tragedy conceptually.