Aesthetics: The Key Thinkers by Alessandro Giovannelli PDF

By Alessandro Giovannelli

Aesthetics: the most important Thinkers deals a finished historic evaluation of the sphere of aesthetics. Eighteen especially commissioned essays introduce and discover the contributions of these philosophers who've formed the topic, from its origins within the paintings of the traditional Greeks to modern advancements within the twenty first Century.

The booklet reconstructs the heritage of aesthetics, truly illustrating crucial makes an attempt to handle such an important concerns because the nature of aesthetic judgment, the prestige of artwork, and where of the humanities inside of society. perfect for undergraduate scholars, the booklet lays the mandatory foundations for a whole and thorough figuring out of this attention-grabbing topic.

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This is what Aristotle does in the Poetics. To be sure, the work has implications for the practice of poetry. However, Aristotle’s goal is not practical, but philosophical, and he draws on the views he has developed in other areas of his philosophy, especially metaphysics, psychology, and ethics. What is the philosophical framework that Aristotle is operating with, then, in the Poetics? His account of the genre of poetry and related arts like painting and music is broadly teleological: poetry came into existence to establish a certain end or goal (telos) and the features we find in poetry are there in the service of this larger end.

The clarification theorist replies that there is always room for improvement, even in the virtuous person. Even if this is true, it is not clear how exactly tragedy could provide ethical training. This problem can be put in the form of a dilemma that seems to apply to all spectators of tragedy, virtuous or otherwise. Either the spectator has the appropriate response of pity and fear to the characters or she does not. If she does, this shows that she is already able to recognize when feeling pity and fear is appropriate.

Yet, Aristotle makes clear that the subjective matter of poetic mime¯ sis is not limited to things that have actually occurred. Certainly there was no Antigone who defied her uncle, King Creon. The subject matter of poetic mime¯ sis is either the actual (1451b 29–32) or the possible (1451b 5): that is, the objects of mime¯ sis can include those the poet makes up. Nor does the poet need to adhere to historical or scientific fact, provided that the mime¯ sis he produces is still plausible and true to life (1460b 30–32; see also 1460b 15–20).

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