dancinlab/anima-corpus-5lang-unified huggingface dataset:
While it is believed that Aristotle's Poetics originally comprised two books – one on comedy and one on tragedy – only the portion that focuses on tragedy has survived. Aristotle taught that tragedy is composed of six elements: plot-structure, character, style, thought, spectacle, and lyric poetry. The characters in a tragedy are merely a means of driving the story; and the plot, not the characters, is the chief focus of tragedy. Tragedy is the imitation of action arousing pity and fear, and is meant to effect the catharsis of those same emotions. Aristotle concludes Poetics with a discussion on which, if either, is superior: epic or tragic mimesis. He suggests that because tragedy possesses all the attributes of an epic, possibly possesses additional attributes such as spectacle and music, is more unified, and achieves the aim of its mimesis in shorter scope, it can be considered superior to epic. Aristotle was a keen systematic collector of riddles, folklore, and proverbs; he and his school had a special interest in the riddles of the Delphic Oracle and studied the fables of Aesop.
Among countless other achievements, Aristotle was the founder of formal logic, pioneered the study of zoology, and left every future scientist and philosopher in his debt through his contributions to the scientific method. Taneli Kukkonen, observes that his achievement in founding two sciences is unmatched, and his reach in influencing "every branch of intellectual enterprise" including Western ethical and political theory, theology, rhetoric, and literary analysis is equally long. As a result, Kukkonen argues, any analysis of reality today "will almost certainly carry Aristotelian overtones ... evidence of an exceptionally forceful mind." Jonathan Barnes wrote that "an account of Aristotle's intellectual afterlife would be little less than a history of European thought".
His successor, Theophrastus 
Aristotle's pupil and successor, Theophrastus, wrote the History of Plants, a pioneering work in botany. Some of his technical terms remain in use, such as carpel from carpos, fruit, and pericarp, from pericarpion, seed chamber.
Theophrastus was much less concerned with formal causes than Aristotle was, instead pragmatically describing how plants functioned.
Later Greek philosophy 
The immediate influence of Aristotle's work was felt as the Lyceum grew into the Peripatetic school. Aristotle's students included Aristoxenus, Dicaearchus, Demetrius of Phalerum, Eudemos of Rhodes, Harpalus, Hephaestion, Mnason of Phocis, Nicomachus, and Theophrastus. Aristotle's influence over Alexander the Great is seen in the latter's bringing with him on his expedition a host of zoologists, botanists, and researchers. He had also learned a great deal about Persian customs and traditions from his teacher. Although his respect for Aristotle was diminished as his travels made it clear that much of Aristotle's geography was clearly wrong, when the old philosopher released his works to the public, Alexander complained "Thou hast not done well to publish thy acroamatic doctrines; for in what shall I surpass other men if those doctrines wherein I have been trained are to be all men's common property?"
The first medical teacher at Alexandria, Herophilus of Chalcedon, corrected Aristotle, placing intelligence in the brain, and connected the nervous system to motion and sensation. Herophilus also distinguished between veins and arteries, noting that the latter pulse while the former do not. Though a few ancient atomists such as Lucretius challenged the teleological viewpoint of Aristotelian ideas about life, teleology (and after the rise of Christianity, natural theology) would remain central to biological thought essentially until the 18th and 19th centuries. Ernst Mayr states that there was "nothing of any real consequence in biology after Lucretius and Galen until the Renaissance."
Byzantine scholars 
Greek Christian scribes played a crucial role in the preservation of Aristotle by copying all the extant Greek language manuscripts of the corpus. The first Greek Christians to comment extensively on Aristotle were Philoponus, Elias, and David in the sixth century, and Stephen of Alexandria in the early seventh century. John Philoponus stands out for having attempted a fundamental critique of Aristotle's views on the eternity of the world, movement, and other elements of Aristotelian thought. Philoponus questioned Aristotle's teaching of physics, noting its flaws and introducing the theory of impetus to explain his observations.
Medieval Islamic world 
Aristotle was one of the most revered Western thinkers in early Islamic theology. Most of the still extant works of Aristotle, as well as a number of the original Greek commentaries, were translated into Arabic and studied by Muslim philosophers, scientists and scholars. Averroes, Avicenna and Alpharabius, who wrote on Aristotle in great depth, also influenced Thomas Aquinas and other Western Christian scholastic philosophers. Alkindus greatly admired Aristotle's philosophy, and Averroes spoke of Aristotle as the "exemplar" for all future philosophers. Medieval Muslim scholars regularly described Aristotle as the "First Teacher". The title was later used by Western philosophers (as in the famous poem of Dante) who were influenced by the tradition of Islamic philosophy.
Medieval Europe 
With the loss of the study of ancient Greek in the early medieval Latin West, Aristotle was practically unknown there from  to  except through the Latin translation of the Organon made by Boethius. In the twelfth and thirteenth centuries, interest in Aristotle revived and Latin Christians had translations made, both from Arabic translations, such as those by Gerard of Cremona, and from the original Greek, such as those by James of Venice and William of Moerbeke.
After the Scholastic Thomas Aquinas wrote his Summa Theologica, working from Moerbeke's translations and calling Aristotle "The Philosopher", the demand for Aristotle's writings grew, and the Greek manuscripts returned to the West, stimulating a revival of Aristotelianism in Europe that continued into the Renaissance. These thinkers blended Aristotelian philosophy with Christianity, bringing the thought of Ancient Greece into the Middle Ages. Scholars such as Boethius, Peter Abelard, and John Buridan worked on Aristotelian logic.
According to scholar Roger Theodore Lafferty, Dante built up the philosophy of the Comedy with the works of Aristotle as a foundation, just as the scholastics used Aristotle as the basis for their thinking. Dante knew Aristotle directly from Latin translations of his works and indirectly through quotations in the works of Albert Magnus. Dante even acknowledges Aristotle's influence explicitly in the poem, specifically when Virgil justifies the Inferno's structure by citing the Nicomachean Ethics.
Medieval Judaism 
Moses Maimonides (considered to be the foremost intellectual figure of medieval Judaism) adopted Aristotelianism from the Islamic scholars and based his Guide for the Perplexed on it and that became the basis of Jewish scholastic philosophy. Maimonides also considered Aristotle to be the greatest philosopher that ever lived, and styled him as the "chief of the philosophers". Also, in his letter to Samuel ibn Tibbon, Maimonides observes that there is no need for Samuel to study the writings of philosophers who preceded Aristotle because the works of the latter are "sufficient by themselves and [superior] to all that were written before them. His intellect, Aristotle's is the extreme limit of human intellect, apart from him upon whom the divine emanation has flowed forth to such an extent that they reach the level of prophecy, there being no level higher".
Early Modern scientists 
In the Early Modern period, scientists such as William Harvey in England and Galileo Galilei in Italy reacted against the theories of Aristotle and other classical era thinkers like Galen, establishing new theories based to some degree on observation and experiment. Harvey demonstrated the circulation of the blood, establishing that the heart functioned as a pump rather than being the seat of the soul and the controller of the body's heat, as Aristotle thought. Galileo used more doubtful arguments to displace Aristotle's physics, proposing that bodies all fall at the same speed whatever their weight.
18th and 19th-century science 
The English mathematician George Boole fully accepted Aristotle's logic, but decided "to go under, over, and beyond" it with his system of algebraic logic in his 1854 book The Laws of Thought. This gives logic a mathematical foundation with equations, enables it to solve equations as well as check validity, and allows it to handle a wider class of problems by expanding propositions of any number of terms, not just two.
Charles Darwin regarded Aristotle as the most important contributor to the subject of biology. In an 1882 letter he wrote that "Linnaeus and Cuvier have been my two gods, though in very different ways, but they were mere schoolboys to old Aristotle". Also, in later editions of the book "On the Origin of Species', Darwin traced evolutionary ideas as far back as Aristotle; the text he cites is a summary by Aristotle of the ideas of the earlier Greek philosopher Empedocles.
Surviving works
Corpus Aristotelicum 
The works of Aristotle that have survived from antiquity through medieval manuscript transmission are collected in the Corpus Aristotelicum. These texts, as opposed to Aristotle's lost works, are technical philosophical treatises from within Aristotle's school. Reference to them is made according to the organization of Immanuel Bekker's Royal Prussian Academy edition (Aristotelis Opera edidit Academia Regia Borussica, Berlin, 1831–1870), which in turn is based on ancient classifications of these works.
Loss and preservation 
Aristotle wrote his works on papyrus scrolls, the common writing medium of that era. His writings are divisible into two groups: the "exoteric", intended for the public, and the "esoteric", for use within the Lyceum school. Aristotle's "lost" works stray considerably in characterization from the surviving Aristotelian corpus. Whereas the lost works appear to have been originally written with a view to subsequent publication, the surviving works mostly resemble lecture notes not intended for publication. Cicero's description of Aristotle's literary style as "a river of gold" must have applied to the published works, not the surviving notes. A major question in the history of Aristotle's works is how the exoteric writings were all lost, and how the ones now possessed came to be found. The consensus is that Andronicus of Rhodes collected the esoteric works of Aristotle's school which existed in the form of smaller, separate works, distinguished them from those of Theophrastus and other Peripatetics, edited them, and finally compiled them into the more cohesive, larger works as they are known today.
Some time later, the Kingdom of Pergamon began conscripting books for a royal library, and the heirs of Neleus hid their collection in a cellar to prevent it from being seized for that purpose. The library was stored there for about a century and a half, in conditions that were not ideal for document preservation. On the death of Attalus III, which also ended the royal library ambitions, the existence of Aristotelian library was disclosed, and it was purchased by Apellicon and returned to Athens in about .
Aristotle has been depicted by major artists including Lucas Cranach the Elder, Justus van Gent, Raphael, Paolo Veronese, Jusepe de Ribera, Rembrandt, and Francesco Hayez over the centuries. Among the best-known depictions is Raphael's fresco The School of Athens, in the Vatican's Apostolic Palace, where the figures of Plato and Aristotle are central to the image, at the architectural vanishing point, reflecting their importance. Rembrandt's Aristotle with a Bust of Homer, too, is a celebrated work, showing the knowing philosopher and the blind Homer from an earlier age: as the art critic Jonathan Jones writes, "this painting will remain one of the greatest and most mysterious in the world, ensnaring us in its musty, glowing, pitch-black, terrible knowledge of time."
Bolotin, David (1998). An Approach to Aristotle's Physics: With Particular Attention to the Role of His Manner of Writing. Albany: SUNY Press. A contribution to our understanding of how to read Aristotle's scientific works.
 Burnyeat, Myles F. et al. (1979). Notes on Book Zeta of Aristotle's Metaphysics. Oxford: Sub-faculty of Philosophy.
Knight, Kelvin (2007). Aristotelian Philosophy: Ethics and Politics from Aristotle to MacIntyre, Polity Press.
 Lewis, Frank A. (1991). Substance and Predication in Aristotle. Cambridge University Press.
 Lord, Carnes (1984). Introduction to The Politics, by Aristotle. Chicago University Press.
 Loux, Michael J. (1991). Primary Ousia: An Essay on Aristotle's Metaphysics Ζ and Η. Ithaca, NY: Cornell University Press.
 Maso, Stefano (Ed.), Natali, Carlo (Ed.), Seel, Gerhard (Ed.) (2012) Reading Aristotle: Physics VII. 3: What is Alteration? Proceedings of the International ESAP-HYELE Conference, Parmenides Publishing. .
384 BC births
322 BC deaths
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Gershwin scored the piece for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. He brought back four Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928, in Carnegie Hall, with Walter Damrosch conducting the New York Philharmonic. It was Damrosch who had commissioned Gershwin to write his Concerto in F following the earlier success of Rhapsody in Blue (1924). He completed the orchestration on November 18, less than four weeks before the work's premiere. He collaborated on the original program notes with critic and composer Deems Taylor.
Background
Although the story is likely apocryphal, Gershwin is said to have been attracted by Maurice Ravel's unusual chords, and Gershwin went on his first trip to Paris in 1926 ready to study with Ravel. After his initial student audition with Ravel turned into a sharing of musical theories, Ravel said he could not teach him, saying, "Why be a second-rate Ravel when you can be a first-rate Gershwin?"
Gershwin strongly encouraged Ravel to come to the United States for a tour. To this end, upon his return to New York, Gershwin joined the efforts of Ravel's friend Robert Schmitz, a pianist Ravel had met during the war, to urge Ravel to tour the U.S. Schmitz was the head of Pro Musica, promoting Franco-American musical relations, and was able to offer Ravel a $10,000 fee for the tour, an enticement Gershwin knew would be important to Ravel.
Gershwin greeted Ravel in New York in March 1928 during a party held for Ravel's birthday by Éva Gauthier. Ravel's tour reignited Gershwin's desire to return to Paris, which he and his brother Ira did after meeting Ravel. Ravel's high praise of Gershwin in an introductory letter to Nadia Boulanger caused Gershwin to seriously consider taking much more time to study abroad in Paris. Yet after he played for her, she told him she could not teach him. Boulanger gave Gershwin basically the same advice she gave all her accomplished master students: "What could I give you that you haven't already got?" This did not set Gershwin back, as his real intent abroad was to complete a new work based on Paris and perhaps a second rhapsody for piano and orchestra to follow his Rhapsody in Blue. Paris at this time hosted many expatriate writers, among them Ezra Pound, W. B. Yeats, Ernest Hemingway, F. Scott Fitzgerald and artist Pablo Picasso.
The piece is structured into five sections, which culminate in a loose A–B–A format. Gershwin's first A episode introduces the two main "walking" themes in the "Allegretto grazioso" and develops a third theme in the "Subito con brio". The style of this A section is written in the typical French style of composers Claude Debussy and Les Six. This A section featured duple meter, singsong rhythms, and diatonic melodies with the sounds of oboe, English horn, and taxi horns. The B section's "Andante ma con ritmo deciso" introduces the American Blues and spasms of homesickness. The "Allegro" that follows continues to express homesickness in a faster twelve-bar blues. In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum. "Moderato con grazia" is the last A section that returns to the themes set in A. After recapitulating the "walking" themes, Gershwin overlays the slow blues theme from section B in the final "Grandioso".
Instrumentation
An American in Paris was originally scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani, snare drum, bass drum, triangle, wood block, ratchet, cymbals, low and high tom-toms, xylophone, glockenspiel, celesta, 4 taxi horns labeled as A, B, C, and D with circles around them, alto saxophone, tenor saxophone, baritone saxophone (all doubling soprano and alto saxophones), and strings. Although most modern audiences have heard the taxi horns using the notes A, B, C, and D, it had been Gershwin's intention to use the notes A4, B4, D5, and A3. It is likely that in labeling the taxi horns as A, B, C, and D with circles, he was referring to the four horns, and not the notes that they played.
A major revision of the work by composer and arranger F. Campbell-Watson simplified the instrumentation by reducing the saxophones to only three instruments: alto, tenor and baritone; the soprano and alto saxophone doublings were eliminated to avoid changing instruments. This became the standard performing edition until 2000, when Gershwin specialist Jack Gibbons made his own restoration of the original orchestration of An American in Paris, working directly from Gershwin's original manuscript, including the restoration of Gershwin's soprano saxophone parts removed in Campbell-Watson's revision. Gibbons' restored orchestration of An American in Paris was performed at London's Queen Elizabeth Hall on July 9, 2000, by the City of Oxford Orchestra conducted by Levon Parikian.
Preservation status
On September 22, 2013, it was announced that a musicological critical edition of the full orchestral score would be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michigan, were working to make scores available to the public that represent Gershwin's true intent. It was unknown whether the critical score would include the four minutes of material Gershwin later deleted from the work (such as the restatement of the blues theme after the faster 12 bar blues section), or if the score would document changes in the orchestration during Gershwin's composition process.
Recordings
An American in Paris has been frequently recorded. The first recording was made for the Victor Talking Machine Company in 1929 with Nathaniel Shilkret conducting the Victor Symphony Orchestra, drawn from members of the Philadelphia Orchestra. Gershwin was on hand to "supervise" the recording; however, Shilkret was reported to be in charge and eventually asked the composer to leave the recording studio. Then, a little later, Shilkret discovered there was no one to play the brief celesta solo during the slow section, so he hastily asked Gershwin if he might play the solo; Gershwin said he could and so he briefly participated in the actual recording. This recording is believed to use the taxi horns in the way that Gershwin had intended using the notes A-flat, B-flat, a higher D, and a lower A.
Use in film
In 1951, Metro-Goldwyn-Mayer released the musical film An American in Paris, featuring Gene Kelly and Leslie Caron and directed by Vincente Minnelli. Winning the 1951 Best Picture Oscar and numerous other awards, the film featured many tunes of Gershwin and concluded with an extensive, elaborate dance sequence built around the symphonic poem An American in Paris (arranged for the film by Johnny Green), which cost $500,000.
The Academy Award for Best Production Design recognizes achievement for art direction in film. The category's original name was Best Art Direction, but was changed to its current name in 2012 for the 85th Academy Awards. This change resulted from the Art Directors' branch of the Academy of Motion Picture Arts and Sciences (AMPAS) being renamed the Designers' branch. Since 1947, the award is shared with the set decorators. It is awarded to the best interior design in a film.
2 wins
 Ken Adam
 E. Preston Ames
 Herman A. Blumenthal
 Henry Bumstead
 Donald Graham Burt
 Gene Callahan
 Rick Carter
 George Davis
 Leslie Dilley
 Michael D. Ford
 George Gaines
 Russell A. Gausman
 Nancy Haigh
 Harry Horner
 William A. Horning
 Hugh Hunt
 Wiard Ihnen
 Emile Kuri
 Terence Marsh
 Catherine Martin
 William Cameron Menzies
 Urie McCleary
 John Myhre
 Gil Parrondo
 Robert Priestley
 Stuart A. Reiss
 Norman Reynolds
 Dario Simoni
 Robert Stromberg
 Richard Sylbert
 Joseph C. Wright
 Peter Young
Notes
References
Best Production Design
Awards for best art direction
The Academy Awards, mainly known as the Oscars, are awards for artistic and technical merit for the film industry. They are presented annually by the Academy of Motion Picture Arts and Sciences located in Beverly Hills, California, United States, in recognition of excellence in cinematic achievements as assessed by the Academy's voting membership. The Academy Awards are regarded by many as the most prestigious, significant awards in the entertainment industry in the United States and worldwide. The Oscar statuette depicts a knight rendered in the Art Deco style.
The major award categories are presented during a live televised Hollywood ceremony that is typically held in February or March. It is the oldest worldwide entertainment awards ceremony. The 1st Academy Awards were held in 1929, the second ceremony in 1930 was the first one broadcast by radio, and the 1953 ceremony was the first one televised. It is also the oldest of the four major annual American entertainment awards; its equivalents – the Emmy Awards for television, the Tony Awards for theater, and the Grammy Awards for music – are modeled after the Academy Awards.