Aesthetics: The Key Thinkers by Alessandro Giovannelli

By Alessandro Giovannelli

Aesthetics: the main Thinkers bargains a accomplished ancient 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 ebook reconstructs the background of aesthetics, sincerely illustrating crucial makes an attempt to deal with such the most important matters because the nature of aesthetic judgment, the prestige of artwork, and where of the humanities inside society. perfect for undergraduate scholars, the booklet lays the required foundations for a whole and thorough knowing of this interesting subject.

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A broader cluster on the notion of aesthetic experience could comprise the relevant parts in the essays on medieval aesthetics, Kant, Fry, Bell, Dewey, Beardsley, and in chapter 18 (section 1). The role and nature of interpretation and art criticism are emphasized in the essays on Hume, Dewey, Benjamin, and, in different ways, in all the chapters on contemporary analytic aesthetics from Beardsley onwards. Additional smaller clusters can be identified. For instance, the reader interested in music will find Schopenhauer, Nietzsche, Dewey, and Adorno especially relevant.

She has published many journal articles and book chapters, and is the author of Reading with Feeling: The Aesthetics of Appreciation. Gian Carlo Garfagnini is Professor of Medieval Philosophy at the University of Florence (Italy) and Vice-President of the Italian Dante Society. He has authored numerous articles, focusing especially on the relationship between ethics and politics between the thirteenth and the fifteenth centuries. Alessandro Giovannelli is Assistant Professor of Philosophy at Lafayette College (USA).

We should then try to understand such a critique and why it is so harsh. 3. Art and knowledge Book X criticizes poetry and, more generally, representational art on two fronts: as a source of illusion and false belief and as a powerful force capable of corrupting the psyche with harmful emotions and attitudes. These criticisms should not surprise the reader of Books II and III, since something similar was already said there. The difference is that in those earlier parts of the Republic, these charges were directed at some works of art and poetry, and some parts of a given work, while allowing for other works and passages that not only escape the criticism but also are positively beneficial.

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