By Monroe C. Beardsley
“Beardsley’s publication accomplishes to perfection what the author intended. It illuminates a space of historical past from a definite standpoint as used to be by no means performed earlier than. . . . The distinguishing characteristic 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 dropped at mild points of the historical past f the topic by no means spotted ahead of, or not less than, now not so clearly.” —The magazine of Aesthetics and artwork Criticism
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Additional info for Aesthetics from classical Greece to the present : a short history
This is his general way of getting at the thing itself, its essential features, and when he turns [ 54 ] Aristotle 55 to the art of poetry (poietike), he is determined to mark out boundaries and study the nature of that art quite independently of its moral and political connections. This is a separation that Plato could not make, or did not believe should be made, but that Aristotle evidently considers quite indispensable for a satisfactory understanding. What, he asks, is the genus to which the poetic art belongs-and what, in turn, are its species?
R. Hackforth (Cambridge, 1952). Philebus, trans. R. Hackforth as Plato's Examination of Pleasure (Cambridge, 1945). Republic, trans. F. M. Cornford (Oxford, 1941). Sophist, trans. F. M. Cornford as Plato's Theory of Knowledge (New York, 1935). Rupert C. Lodge, Plato's Theory of Art (London, 1953). Eric A. , 1963). 52 Aesthetics from Classical Greece to the Present Raphael Demos, The Philosophy of Plato (New York, 1939), chs. 11-13. G. M. A. Grube, Plato's Thought (London, 1935), ch. 6. 1. M. Crombie, An Examination of Plato's Doctrines, Vol.
The suggestions about this in the Ion are embedded in so ironic a context that we would not be sure from that dialogue alone whether Socrates is at all serious when he tells Ion that his undoubted gift is an "inspiration," that he is moved by a "divine power" as a magnet moves the iron (533d; trans. Lamb). "For all the good epic poets utter all those fine poems not from art, but as inspired and possessed, and the good lyric poets likewise" (533e; d. 536b). "A sort of genius and inspiration," Socrates calls it in the Apology (22), and again it may be ironic.
Aesthetics from classical Greece to the present : a short history by Monroe C. Beardsley