By Monroe C. Beardsley
“Beardsley’s e-book 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 e-book 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 heritage f the topic by no means spotted sooner than, or no less than, now not so clearly.” —The magazine of Aesthetics and artwork Criticism
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Extra info for Aesthetics from classical Greece to the present : a short history
There one of the important issues is over the nature of pleasure, and its relation to the good; and this discussion calls for distinctions between different sorts of pleasure. "True pleasures" are those given by beauty of color and form, by certain odors and sounds, and by those geometrical constructions that were spoken of above (51 bc). You may be walking along the street, for example, and catch a sudden odor from a flowering shrub. It comes unbidden, that is, it is not preceded by a hunger or a thirst; and it leaves behind no unwanted after-effect.
Techne is skill in doing something that takes an uncommon and specialized ability; it involves knowing how to achieve a certain end. In the Sophist, where Plato presents, by way of example, an elaborate definition by dichotomy of the craft of fishing, he divides crafts in general into "acquisitive" (such as money-making) and "productive," or creative, which bring into existence what has not existed before. The productive crafts include a wide range of skills-for example, carpentry, flute-playing, "painting, weaving, embroidery, architecture, the making of furniture" (Republic 401a; trans.
If we take typical examples of complex beautiful things, from people to temples, what do we find? They exhibit certain ideal Plato 43 proportions in the relation of part to part; and indeed, in the construction of the temple, precise mathematical measurements are taken to insure these proportions (d. Timaeus 87cd; Politicus 284a). We find that part answers to part, in a balance or opposition that gives the whole a dynamic stillness and self-completeness. In short, we find that "the qualities of measure (metron) and proportion (symmetron) invariably .
Aesthetics from classical Greece to the present : a short history by Monroe C. Beardsley