New PDF release: Aesthetics from classical Greece to the present : a short
By Monroe C. Beardsley
“Beardsley’s ebook accomplishes to perfection what the author intended. It illuminates a space of background from a undeniable standpoint as was once by no means performed ahead of. . . . The distinguishing characteristic of his booklet is a n pleasure over every thing I aesthetics that has to do with symbols, meanings, language, and modes of interpretation. And this pleasure has dropped at gentle features of the historical past f the topic by no means spotted ahead of, or at the very least, no longer so clearly.” —The magazine of Aesthetics and paintings Criticism
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Extra resources for Aesthetics from classical Greece to the present : a short history
They have unity, regularity, simplicity (whether or not imposed upon complexity)-something like the principle of "the same," employed by the demiourgos of the Timaeus (35a). This is what gives them ideal character, allies them with the One rather than the Many, and either constitutes, or, more probably, supports and sustains, their beauty. If we now reconsider the artist and his creative power from 44 Aesthetics from Classical Greece to the Present this new point of view, the irrationality that seemed so prominent in him considered as a fabricator of illusions may appear as a higher sort of wisdom, his madness as something approaching divine inspiration.
26, 1462 b 17; trans. Else; d. ch. 1). Aristotle, in short, is interested in the basis of critical judgment, the reasons that can be given in support of a comparative evaluation (why, for in· stance, he is justified in regarding Homer's epics and Sophocles' Oedipus Rex as the greatest of masterpieces)-and the excuses that might be given in reply to unfavorable criticism (see chs. 25, 26). Since our concern here is with general aesthetics, rather than the details of critical theory, we need not review the six parts, or constituents of the tragic art, which Aristotle distinguishes (ch.
_ _ _ , "Plato and Allegorical Interpretation," Class Quart XXIII (1929): 142-54, XXIV (1930): 1-10. Edith Watson Schipper, "Mimesis in the Arts in Plato's Laws," Jour Aesth and Art Crit XXII (Winter 1963): 199-202. Richard McKeon, "Literary Criticism and the Concept of Imitation in Antiquity," Modern Philol XXIV (1936-37): 1-35. W. J. Verdenius, Mimesis: Plato's Doctrine of Artistic Imitation and its Meaning to Us (Leiden, 1949). Katharine Gilbert, "The Relation of the Moral to the Aesthetic Standard in Plato," Philos Rev XLIII (1934): 279-94.
Aesthetics from classical Greece to the present : a short history by Monroe C. Beardsley