By Monroe C. Beardsley
“Beardsley’s e-book accomplishes to perfection what the author meant. It illuminates a space of historical past from a undeniable point of view as was once by no means performed ahead of. . . . The distinguishing function of his ebook 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 mild features of the historical past f the topic by no means spotted earlier than, or at the least, now not so clearly.”
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Additional resources for Aesthetics from Classical Greece to the Present
The painter, at any rate, seems to go in for deceptive semblances; the musician is perhaps chiefly an accompfice of the poet, when he sets the latter's words to music that will enable the singer to pretend to passions he doesn't really feel. But the poet is by all odds the most guilty. In that terse but slashing indictment of the tragic poets (including Homer) toward the end of the Republic (598-601), Plato seems 38 Aesthetics tram Classical Greece to the Present to deny them any claim to genuine knowledge (ePisteme) , though their dangerousness arises precisely because many people will think they do know what they are talking about.
No work in the entire history of aesthetics, it is safe to say, has presented so many problems of exegesis, or been so pondered over and disputed (the bibliography is enormous, and still growing), but even if we cannot always be certain what Aristotle himself meant, we know what he has been construed to mean, and which of his supposed ideas have been powerfully influential in the later history of aesthetics and literary criticism. It is highly characteristic of Aristotle that, in opening up a new field of inquiry, he begins by mapping it as exactly as he can in terms of a system of classification.
Bury). Quantity of pleasure is no test unless it be pleasure of the right audience; we ought to praise "that music which pleases the best men and the highly educated" (658e-659). Unfortunately that is not the whole story. For many works of art, especially tragic and epic poetry, are imitations of human lives and fortunes, and derive much of their enjoyableness from the representation of people in highly emotional states, expressing their emotions violently, in a way that excites the emotions of the audience, too.
Aesthetics from Classical Greece to the Present by Monroe C. Beardsley