By Stephen Davies
During this broadly revised and up-to-date version, 168 alphabetically prepared articles offer complete remedy of the most themes and writers during this region of aesthetics.
- Written through well-known students overlaying a wide-range of key themes in aesthetics and the philosophy of artwork
- Features revised and accelerated entries from the 1st version, in addition to new chapters on fresh advancements in aesthetics and a bigger variety of essays on non-Western thought of paintings
- Unique to this version are six review essays at the historical past of aesthetics within the West from antiquity to trendy instances
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During this largely revised and up to date variation, 168 alphabetically prepared articles supply accomplished remedy of the most subject matters and writers during this region of aesthetics. Written by way of favourite students overlaying a wide-range of key subject matters in aesthetics and the philosophy of artwork positive aspects revised and extended entries from the 1st version, in addition to new chapters on contemporary advancements in aesthetics and a bigger variety of essays on non-Western considered paintings distinct to this variation are six evaluation essays at the background of aesthetics within the West from antiquity to trendy instances
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Additional resources for A Companion to Aesthetics
Clearly he does not require, though he allows for, empirical truth in poetry: the objects of mimesis, according to Poetics 25, include the actual, the hypothetical, and the ideal. Like Pindar (above), Aristotle can explicitly admire the Homeric use of “falsehood” (Poetics 24), by which he means the artful design of scenes that are emotionally convincing despite underlying inconsistencies. Aristotle takes poetry to be a representation of “life” (Poetics 6), yet he does not equate this with sustained realism (Poetics 8) but connects it to what he counts as poetry’s quasi-philosophical capacity to incorporate “universals” into its narrative structures.
For Strabo, reading Homer is (or can be) a quasi-philosophical exercise in tracking an essentially veridical, which is not to say always literal, picture of reality. He concedes in passing the permissibility of an element of creative invention or fiction; he recognizes, as other Stoics did, the importance of poetic “composition” and style; and he allows that poetry can provide some pleasures that are not reducible to truth. But he firmly subordinates such considerations to the imperatives of his Stoic agenda, even though his position requires him to admit that the emotional charge of poetic myths makes them most suitable as instruction for minds incapable of dealing with philosophical knowledge in a purer form.
Greco-Roman culture produced, in fact, a complex tradition of reflections both on beauty and on the principles of poetic, musical, and figurative art forms. These reflections emerged within and between various frameworks of thought: poetics, rhetorical theory, cultural critique, systems of metaphysics, as well as technical treatises (outside the scope of this article) on painting, music, and architecture. On any nondoctrinaire understanding of the concept, antiquity plays a formative, influential role in the history of aesthetics.
A Companion to Aesthetics by Stephen Davies