Download e-book for kindle: Aesthetics from Classical Greece to the Present by Monroe C. Beardsley

By Monroe C. Beardsley

ISBN-10: 0817389768

ISBN-13: 9780817389765

“Beardsley’s booklet accomplishes to perfection what the author meant. It illuminates a space of background from a definite standpoint as used to be 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 mild elements of the historical past f the topic by no means spotted sooner than, or at the least, now not so clearly.”

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Extra resources for Aesthetics from Classical Greece to the Present

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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.

R. G. Steven, "Plato and the Art of His Time," Class Quart XXVII (1933): 149-55· N. R. Murphy, The Interpretation of Plato's Republic (Oxford, 1951), ch. I I . D. R. Grey, "Art in the Republic," Philos XXVII (1952): 2913 10. Plato 53 Craig LaDriere, "The Problem of Plato's Ion," Jour Aesth and Art Crit X (Sept. 1951): 26-34. J. G. Warry, Greek Aesthetic Theory (New York, 1962), chs. 1-4. Evanghelos Moutsopoulos, La Musique dans l'oeuvre de Platon (Paris, 1959). E. Huber-Abrahamowicz, Das Problem der Kunst bei Platon (Winterthur, 1954).

The first of these introduces a narrower meaning of "imitation," and comes closer to a theory of art. There is production (1) of actual objects-plants and elements by the god; houses and knives by men-and (2) of "images" (eidola)-reftections and dreams by the god; pictures by men (SoPhist 266). " In this sense, a house is not an imitation, though its photograph is: "And what of our human art? " (266c; Cornford). Let us take "imitation" henceforth in the sense in which not all, but only some, productions are imitations.

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Aesthetics from Classical Greece to the Present by Monroe C. Beardsley


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