Download Aesthetics from classical Greece to the present : a short by Monroe C. Beardsley PDF

By Monroe C. Beardsley

“Beardsley’s booklet accomplishes to perfection what the author intended.  It illuminates a space of heritage from a undeniable viewpoint as used to be by no means performed prior to. . . . 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 gentle elements of the historical past f the topic by no means spotted prior to, or at the very least, no longer so clearly.” —The magazine of Aesthetics and artwork Criticism

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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. If they really knew how to build ships and command troops, they would do those useful things rather than write about people doing them; if they knew the nature of a good life or a good state, they would have had some influence on citizens and governments.

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. I (New York, 1962), ch. 5. Constantin Ritter, The Essence of Plato's Philosophy, trans. A. Alles (London, 1933), Part II, ch. 5. Ernst Cassirer, Eidos und Eidolon-Das Problem des Schonen in der Kunst in Pia tons Dialogen (Leipzig, 1924).

It is the logic of his method and the significance of his main ideas that we must be content to understand. THE PROPER PLEASURE OF TRAGEDY Suppose we have made a full empirical study of eXlstmg tragedies, and catalogued their various characteristics-those common to all, such as imitating an action (praxis), and those that vary from one to another. Still, our understanding will not be complete, nor will we be in a position to give an adequate definition of the species we are after, until we can state its function, or end (telos)-that is, its final cause.

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