Online research in philosophy

This paper addresses the relationship of ancients to moderns by focusing on the “quarrel” between art and philosophy that has led to two articulations of the endof art—one in antiquity, another in modernity: Plato, who expelled the poets from his city on account of art’s irrationality, and Hegel, for whom art was no more the necessary vehicle for truth. Following Giorgio Agamben’s cue in The Man Without Content, I opt for a symptomatic reading of Plato’s condemnation of art, by foregrounding his ambivalence toward poetry. I conclude that, whereas Hegel found poetry wanting, Plato understood poetry’s truth to be tragically excessive.

In Book II of the Physics Aristotle remarks, “If the ship-building art were in the wood, it would produce the same results by nature.” Aristotle is here contrasting nature and art. Nature provides the raw materials (here wood); art provides the means for fashioning those materials (here into a ship). For Aristotle, art consists in the knowledge and skill to produce an object and presupposes the imposition of form on the object from outside. On the other hand, nature consists in capacities inherent in the physical world--capacities that produce objects, as it were, internally and without outside help. Thus in Book VII of the Metaphysics Aristotle writes, “Art is a principle of movement in something other than the thing moved; nature is a principle in the thing itself.” Consequently, Aristotle refers to art as completing “what nature cannot bring to a finish.” Thomas Aquinas took this idea and sacramentalized it into grace completing nature.

The influence of Aristotle, the prince of philosophers, on the intellectual history of the West is second to none. In this book, Jonathan Barnes examines Aristotle's scientific researches, his discoveries in logic and his metaphysical theories, his work in psychology and in ethics and politics, and his ideas about art and poetry, placing his teachings in their historical context.