Download e-book for iPad: Aesthetics A-Z (Philosophy A-Z) by Eran Guter

By Eran Guter

Covers the most important options, arguments, difficulties and figures in aesthetics and the philosophy of art.

This creation to aesthetics presents a layered remedy of either the historic history and modern debates in aesthetics. large cross-referencing indicates how concerns in aesthetics intersect with different branches of philosophy and different fields that examine the humanities. Aesthetics A-Z is a perfect advisor for newbies to the sphere of aesthetics and an invaluable reference for extra complicated scholars of philosophy, artwork heritage, media reports and the appearing arts.

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Extra resources for Aesthetics A-Z (Philosophy A-Z)

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See emotions; medium; ontology; understanding Further reading: Croce 1995 culture: The term designates a totality comprising of every socially transmitted aspect of our lives by virtue of which we endow our activities with meaning and value. Of course, this includes both art and our philosophizing about it.

Meeting the second challenge is particularly relevant to the problem of the definition of art, for one might be theoretically tempted to define art in terms of an attitude appropriate to all art. Kant tried to meet both challenges by construing the aesthetic attitude in terms of disinterestedness. In one version or another, this idea remained hitherto the characterization of choice among proponents of aesthetic attitude. However, it has been argued, most notably by Dickie, that under the guise of disinterestedness the notion of aesthetic attitude fails to meet the two aforementioned challenges.

Originally, as Aristotle had used the term in his Poetics, catharsis referred to the transmogrifying moment of catastrophe in Attic tragedy as the experience of horror purges and purifies the soul of the spectator in an act of communal reaffirmation. In this sense, catharsis also had important medical and political connotations. In the nineteenth and twentieth centuries, catharsis, as a psychological term, had an important place in late romantic aesthetics, most notably serving as the philosophical crux of the difference between the views of Schopenhauer and the early Nietzsche on tragedy, and it gained broad acceptance, largely due to Freud, who pursued the idea that art can be purging and therapeutic.

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