Download Aesthetics from classical Greece to the present : a short by Monroe C. Beardsley PDF

By Monroe C. Beardsley

“Beardsley’s e-book accomplishes to perfection what the author intended.  It illuminates a space of heritage from a undeniable standpoint as was once by no means performed earlier than. . . . 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 delivered to gentle aspects of the heritage f the topic by no means spotted earlier than, or at the very least, no longer so clearly.” —The magazine of Aesthetics and paintings Criticism

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And in a characteristically paradoxical fashion, Plato manages to combine the severest criticism of art with the most extravagant claims for it. Yet here his approach is, in a way, more empirical than elsewhere, for he is not trying to derive some predictions of the inevitable effects of art from a general theory about it; he is trying to get hold of reliable psychological information about what works of art of different sorts may be expected to do to people. It is fairly clear that we can distinguish between works of art with good tendencies and those with bad.

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. 6) and goes on to analyze with some care. It is the logic of his method and the significance of his main ideas that we must be content to understand. THE PROPER PLEASURE OF TRAGEDY Suppose we have made a full empirical study of eXlstmg tragedies, and catalogued their various characteristics-those common to all, such as imitating an action (praxis), and those that vary from one to another.

Tate, "'Imitation' in Plato's Republic," Class Quart XXII (1928): 16-23. _ _ _ , "Plato and 'Imitation,''' Class Quart XXVI (1932): 161-69. _ _ _ , "On Plato: Laws X 889cd," Class Quart XXX (1936): 48-54. _ _ _ , "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.

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