The traditional business of Aesthetics has been the study of the aesthetic experience and activity of mankind, in order to show what it is and how it can be distinguished from other experiences and activities. The assumption commonly made is that we ourselves, like others before us, have had a specifically aesthetic experience in the enjoyment of art or the beauty of nature, or have been engaged in the making of something unquestionably artistic. This basic assumption has been challenged recently (...) by I. A. Richards, who calls aesthetic experience “a phantom.” His view is shared by other contemporary philosophers, who also maintain that there is no appreciable difference between an aesthetic reaction and any other frame of mind, or between artistic behaviour and other forms of creative work. We can certainly appeal to experience for the support of a postulate usually taken for granted and say that most artists, authors, and ordinary people in fact regard their aesthetic experience as something entirely distinct from what they do or feel at other times. Analysis will show whether this common-sense opinion is illusory. (shrink)

Probably the most useful survey of modern aesthetics published in recent years.

First published in 1933. The purpose of this work was to bridge a gap in English philosophical literature by completing the elaborate history of Bosanquet and to stimulate and enrich the whole study of aesthetics by means of his personal destructive and constructive criticism. This title will be of interest to students of philosophy.

Those, like the present writer, for whom the late Samuel Alexander unlocked doors to new realms of wisdom and delight, or who basked in the sunshine of encouragement and kindly advice he gave so readily to younger men, will understand with what alacrity this opportunity was seized of paying a small tribute to the memory of so unusual and attractive a personality. To resurrect the mind that has built of its own fabric a mansion so vast that its chambers have (...) room for every fact of experience and every theory of science will always provide a happy and appropriate memorial to one whose main business in life was the disinterested speculation idolized by the Greeks as the worthiest employment to which the human spirit can devote its powers. My own share in this labour of love is small and limited in scope; I want to fill in one corner of the picture of Alexander's philosophical system, drawn by Professor Muirhead in the last number of Philosophy , by describing in some detail what he thought about Art and Beauty in their most important aspects and relations. (shrink)