From Physical World to Transcendent God(s): Mediatory Functions of Beauty in Plato, Dante and Rupa Gosvami -/- Dragana Jagušić -/- In various philosophical, religious and mystical traditions, beauty is often related to intellectual upliftment and spiritual ascent, which suggests that besides its common aesthetic value it may also acquire an epistemic, metaphysical and spiritual meaning or value. I will examine in detail three accounts in which beauty, at times inseparable from desire and love, mediates between physical, intellectual and spiritual (...) levels of existence. Since beauty, in all three accounts, takes on a mediatory role or function,1 I will name these mediations as follows: ancient Greek Eros-mediation or Beauty-mediation (Plato: ca. 429-347 BCE), late medieval Italian Beauty and Love-mediation (Dante Alighieri: 1265-1321) and pre-modern Indian Beauty and Love-mediation (Rūpa Gosvāmi: 1470/90-1564 CE).2 In the first section, I will analyse the stages of Eros or Beauty mediation in Plato; in the second section, I will turn to Dante’s Beauty and Love-mediation and compare it with Plato’s account. In the third section, I will analyse Rūpa’s account of Beauty and Love-mediation in comparison with both Plato and Dante. I will argue that there are certain patterns of mediation mutually shared if not between all three accounts, then at least between two of them. While Plato’s account clearly influenced Dante and was well integrated into Dante’s account, there is no mention or evidence of a pre-modern Bengali theologian influenced by ancient Greek and medieval Italian philosophy and mysticism. However, a strong convergence of elements of Beauty-mediations in Plato and Dante, as well as Beauty and Love-mediations in Dante and Rūpa Gosvāmi, confirms the universality of certain features of Beauty and Love-mediation and speaks in support of an all-inclusive account of them.3 -/- 1 By Beauty-mediation I mean an aesthetic, intellectual or spiritual reconciliation between opposites, such as human and divine, mortal and immortal, particular and universal, sexual and sacred and so on. 2 Rūpa Gosvāmi was an Indian theologian. More information about him is provided in section 3. 3 I am here applying transitivity: if Plato’s account (A) shares elements with Dante’s account (B) and if Dante’s account (B) shares those same elements with Rūpa’s account (C), then Plato’s (A) and Rūpa’s (C) accounts share some elements as well. Obviously, all accounts have some different elements not mutually shared, but I will not deal with them here. (shrink)

In various philosophical, religious and mystical traditions, beauty is often related to intellectual upliftment and spiritual ascent, which suggests that besides its common aesthetic value it may also acquire an epistemic, metaphysical and spiritual meaning or value. I will examine in detail three accounts in which beauty, at times inseparable from desire and love, mediates between physical, intellectual and spiritual levels of existence. Since beauty, in all three accounts, takes on a mediatory role or function,1 I will name these mediations (...) as follows: ancient Greek Eros-mediation or Beauty-mediation (Plato: ca. 429-347 BCE), late medieval Italian Beauty and Love-mediation (Dante Alighieri: 1265-1321) and pre-modern Indian Beauty and Love-mediation (Rūpa Gosvāmi: 1470/90-1564 CE).2 In the first section, I will analyse the stages of Eros or Beauty mediation in Plato; in the second section, I will turn to Dante’s Beauty and Love-mediation and compare it with Plato’s account. In the third section, I will analyse Rūpa’s account of Beauty and Love-mediation in comparison with both Plato and Dante. I will argue that there are certain patterns of mediation mutually shared if not between all three accounts, then at least between two of them. While Plato’s account clearly influenced Dante and was well integrated into Dante’s account, there is no mention or evidence of a pre-modern Bengali theologian influenced by ancient Greek and medieval Italian philosophy and mysticism. However, a strong convergence of elements of Beauty-mediations in Plato and Dante, as well as Beauty and Love-mediations in Dante and Rūpa Gosvāmi, confirms the universality of certain features of Beauty and Love-mediation and speaks in support of an all-inclusive account of them.3 -/- 1 By Beauty-mediation I mean an aesthetic, intellectual or spiritual reconciliation between opposites, such as human and divine, mortal and immortal, particular and universal, sexual and sacred and so on. 2 Rūpa Gosvāmi was an Indian theologian. More information about him is provided in section 3. 3 I am here applying transitivity: if Plato’s account (A) shares elements with Dante’s account (B) and if Dante’s account (B) shares those same elements with Rūpa’s account (C), then Plato’s (A) and Rūpa’s (C) accounts share some elements as well. Obviously, all accounts have some different elements not mutually shared, but I will not deal with them here. (shrink)

Art, Beauty and Imitation in Plato's Philosophy -- Art and Imitation in Aristotle -- Horace, Pseudo-Longinus and the Aesthetics of Literature in Hellenism -- Plotinus, Neo-Platonic and Christian Conception of Beauty -- The Middle Ages and Dante Alighieri -- The Heritage of Kantian Philosophy in Romanticism -- Moritz: Beyond the Concept of Imitation -- Theory of Poetry of Early German Romanticism -- Hegel: Art as a Form of the Absolute Spirit -- Schopenhauer: Art as Disinterestedness and Knowledge of Reality (...) -- Nietzsche: Knowledge and Art -- Symbolism and Aestheticism -- Benedetto Croce: Art and intuition -- Linguistics and Criticism -- Antonio Gramsci: The Role of Intellectuals in Culture -- Structuralism -- Martin Heidegger: The Work of Art and Truth -- Hans-Georg Gadamer: Poetry and Interpretation -- Critical Theory: A New Attitude towards Art and Society -- Perspectives of Post-Structuralism -- The Practice of Deconstruction -- Contemporary Schools and Traditions in Literary and Critical Theory -- Postmodern and the New Character of the Literary Work. (shrink)

Though acknowledged by scholars, Plato’s identification of the Beautiful and the Good has generated little interest, even in aesthetics where the moral concepts are a current topic. The view is suspect because, e.g., it is easy to find examples of ugly saints and beautiful sinners. In this paper the thesis is defended using ideas from Plato’s ancient commentators, the Neoplatonists. Most interesting is Proclus, who applied to value theory a battery of linguistic tools with fixed semantic properties—comparative adjectives, associated (...) gradable adjectives, mass nouns, and predicate negations—all with a semantics that demand a privative scale of value. It is shown how it is perfectly possible to interpret value terms Platonically over privative Boolean algebras so that beautifuland good diverge while at higher levels other value terms are coextensional. Considerations are offered that this structure conforms to actual usage. (shrink)

Abstrak: Mayoritas pembaca Platon menafsirkan filsafat Platon dalam perspektif dualisme, yaitu terdapat dunia idea (kosmos noetos) yang berlawanan dengan dunia indrawi (kosmos aisthetos). Cara tafsir ini menimbulkan banyak kontradiksi. Dalam estetika, E.H. Gombrich, sejarawan seni yang menelurkan teori Revolusi Seni Rupa Yunani, juga membaca Platon dalam tafsir dualisme. Gombrich menyimpulkan bahwa bagi Platon kontemplasi keindahan dapat membawa kita ke dunia idea yang transenden, sedangkan seni hanya menyenang-nyenangkan, mengelabui indra dan menggoda pikiran untuk terikat pada bayang-bayang. Padahal dalam teorinya sendiri, (...) Gombrich menjelaskan bahwa karya seni rupa Yunani terkemuka persis karena keindahannya yang dihidupkan dengan daya ilusif-persuasif. Tulisan ini hendak melempangkan kontradiksi tersebut dengan mengoreksi dunia idea - dunia indrawi menjadi alam visibel – alam inteligibel (horatos topos – noetos topos), istilah yang dipakai Platon dalam corpus-nya. Tulisan ini menyimpulkan bahwa Platon tidak menolak daya ilusif-persuasif yang terdapat dalam seni rupa melainkan menempatkannya sebagai instrumen untuk merealisasikan Agathon. Kata-kata Kunci: Daya ilusif-persuasif, keindahan, akal, intelek, seni. Abstract: The majority of Plato’s reader interprets his philosophy in dualistic perspective, that there is the intelligible world (kosmos noetos) which opposed to the sensible world (kosmos aisthetos). This perspective caused many contradictions. In Aesthetics, E.H. Gombrich, an art historian who creates the Greek Revolution Theory, also read Plato under the perspective of dualism. For him, Plato thought that the contemplation of beauty can lead to the realm of transcendent ideas, while art can only flatter, deceive the senses and seduce the mind to feed on phantoms. Meanwhile, Gombrich also thought that Greek Art is beautiful precisely because of the power of illusion-persuasion. This article aims to reconcile the contradiction by replacing the intelligible world - sensible world to the intelligible realm - visible realm (topos noetos - horatos topos), the original term which Plato used in his corpus. And it concludes that Plato did not oppose the power of illusion-persuasion in art but placing them as an instrument to realize Agathon. Keywords: Illusion-persuasion, beauty, mind, intellect, art. (shrink)

The study aims to address the existing research gap through a thematic comparison between the aesthetics of Kant and Abhinavagupta. This paper explores Kant’s notion of aesthetic judgment based on disinterestedness with Abhinavagupta’s analysis of sādhāraṇīkaraṇa. We argue that the notions of “disinterested judgment” in Kant and sādhāraṇīkaraṇa in Abhinavagupta points towards the impersonal nature of aesthetic delight which makes the universality of aesthetic experience possible. Hence, aesthetics in both Kant and Abhinavgupta are not the personal and subjective (...) experience but a kind of universality based on the ability to experience the impersonal joy. However, the notion of aesthetic delight in Kant is confined to the agreeable mental states only while in Abhinavgupta the notion of rasa includes both positive as well as the negative mental states like fear, disgust, etc. In this regard, the paper will also analyze the affinity between notion of sensus communius in Kant and sahṛdaya in Abhinavagupta which highlights the importance of aesthetic community and the impersonal nature of aesthetic delight. (shrink)

Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a means to the Good. The ascent theory of the Symposium has suggested to some commentators that Plato envisaged two kinds of beauty, the sensuous and the intellectual, and that to reach the Good we must transcend our sensuous desires and cultivate an appreciation of intellectual beauty. However, in the Laws Plato presents us with a third notion of beauty, which is neither (...) sensuous nor intellectual. To experience beauty we need to cultivate our pleasure in harmonious forms. This is where we find a theory of beauty that resonates in Kant’s aesthetic theory. According to the latter, the feeling for beauty is a feeling for harmony that takes us beyond the confines of a world marked out by self-interest. I conclude that Plato’s aesthetic theory anticipates the role that aesthetic judgment would play in Immanuel Kant’s system of the mind. (shrink)

The famous passage in which Plotinus declares that fine art, so far from simply reproducing nature, ‘goes back to the Reason-principles from which nature herself emanates,’ has hitherto been generally regarded as a tacit criticism of Plato's teaching, and as an original contribution to the philosophy of art involving a rupture with the entire previous tradition of Greek aesthetic theory. Yet Plotinus introduces it, not as if he were proclaiming a new gospel, but almost casually, as a subordinate link in (...) his discussion of Intelligible Beauty. And though his respect for Plato was not the half-superstitious reverence of the later Neoplatonists, he was at all times more zealous to walk in Plato's footsteps than to correct or criticize him, tacitly or otherwise. Moreover, can it be said with certainty that his doctrine is in itself opposed to Plato's? That question can be answered only by a detailed examination of Plato's theory of art—a task which I hope to accomplish elsewhere. In the present article, postponing all enquiry into the relation between these two aesthetic theories, I shall endeavour to show that the teaching of Plotinus was not a sudden innovation, but the natural and indeed inevitable outcome of preceding thought. (shrink)

This book provides a clear and informed account of aesthetic and callistic concepts as they occur in the works of Plato and Aristotle. The author illustrates their ideas on art and beauty by close reference to their texts and finds a profound similarity which unites them, revealing many of their differences to be complementary aspects of an essentially similar viewpoint. He also shows how Greek notions of art and beauty are not merely primitive steps in the advance to modern ideas (...) but have a direct relevance to modern critical controversies. (shrink)

The fascination of beauty has given rise to a long-standing European philosophical tradition on the idea of beauty the beginnings of which link back to ancient Greek mythology. However, at the dawn of Modernity the discourse on beauty slowly disappeared from theory and philosophy. While classical tradition dealt with the many and varied aspects of beauty in relation to cosmos, man's way of life, education and the arts, modern theory trivialized the idea of beauty and finally abandoned the topic. This (...) book is an attempt to put beauty on the agenda again by reviewing the very origin of this ancient idea. The reflections on beauty and the ugly are present already in Homer's mythology, and these ideas are further developed and refined in Plato's philosophy. Also Cicero is guided by the Greek legacy in his approach to life, rhetoric, and beauty. The examination of the ancient sources shows the profound knowledge, the elegance, the charm and wit present in ancient thinking. Instead of being just history, these sources hold sound counselling highlighting the importance of beauty. In this way the ancient legacy constitutes a challenge to the arrogance of modern thinking. (shrink)

The Greek notion of beauty encompasses not only nature and artifice, but also the Good. This paper explains the connection by interpreting Plato in a way that allows his theory to be developed beyond the confines of his philosophy. It is argued that we could read his theory of beauty as based on fineness of appearance. This arises when a sensory particular transcends itself and suggests the presence of its sustaining Form, or when sophrosynē in human agency discloses the Good’s (...) power to transform the sensible world. In both cases, there is a pleasure in how certain phenomena or agents manifest the influence of the Forms at the sensory level. Beauty centres on an Ideal relation. By critically revising Plato’s position and taking it beyond the context of exegetical debate, a generally viable explanation of the grounds of Ideal beauty is formulated. This clarifies how such beauty is based on both the fundamental conditions of knowledge, as such, and our existence as free beings. Ideal beauty is shown, also, to be an aesthetic concept with enduring importance. (shrink)

This paper presents a study of Rāmacandra–Guṇacandra’s theory of aesthetics in light of the Kashmiri rasa ideology and demonstrates that the Jain authors offer a new and original conceptualization of aesthetic experience, in which the spectator remains cognitively active in the course of watching the drama. In their model, the relationship between rasa and pleasure is mediated by a cognitive error, and the feeling of pleasure does not coincide with the savoring of rasa but emerges after (...) the savoring of rasa ceases. This paper argues that Rāmacandra and Guṇacandra demystify the Kashmiri theory of aesthetics by identifying affinities between the lived world and the fictive world of drama and by rendering the regular means of knowledge, such as inference and memory, as instrumental for the experience of rasa. It further suggests that this new conceptualization, in which pleasure is contingent upon the dissolution of illusion, may have facilitated the development of playwrighting among Jain monks from the twelfth century on. (shrink)

Through an examination of Bhāgavata Purāṇa X.43.17 and its interpretation by early commentators like Vopadeva, Hemādri, Śrīdhara, Sanātana, Rūpa, and Jīva, I argue that they created forms of hierarchical inclusivism by the application of rasa in the interpretation of the Bhāgavata Purāṇa. In doing so, I examine bhakti as a rasa, showing how rasa theory provided a vocabulary to include the characters of the Bhāgavata Purāṇa and their diverse experiences of the God Kṛṣṇa within hierarchical systems of (...) bhakti. By hierarchical inclusivism, I mean a theory, e.g., in the case of rasa, “the superiority of passionate love over fear,” and that this theory provided criteria to order items, e.g., in the case of rasa again, “the character of the cowherd women is superior to the character of the king.” In this case, hierarchical inclusivism is a theory for organizing and evaluating the mystical and aesthetic experiences of the ten characters mentioned in Bhāgavata Purāṇa X.43.17. I look at how commentators also used rasa for the basis for doctrines about God’s being and nature. (shrink)

The purpose of this article is to synthesize four major elements of aesthetic experience that have previously appeared isolated whenever an attempt at conceptualization is made. These four elements are: Immanuel Kant’s disinterested pleasure, Robin G. Collingwood’s emotional expressionism, the present writer’s redemptive emotional experience, and, lastly, Plato’s concept of Beauty. By taking these four abstracted elements as the bedrock for genuine aesthetic experience, this article aims to clarify the proper role of art as distinct from philosophy and intellectualization. Rather (...) than a medium conducive to intellectual understanding, it is argued that the sphere these four elements of aesthetic experience demarcate is one in which art leads to an emotional understanding that transforms the human condition and it imbues it with new meaning only to be found in a moment of aesthetic experience. (shrink)

I discuss the role of beauty in physics. Physicists are sometimes described as platonists for their conviction that the fundamental laws are elegant and aesthetic arguments represent an important epistemic tool. After a review of the ideas of Plato and some of the leading figures of modern physics, which suggest that this is indeed the case, I present a list of current aesthetic criteria. I focus on symmetry and unity and demonstrate their increasing relevance in an array of experimentally verified (...) theories. I also deal with an open issue of naturalness as the third criterion. The laws of nature appear increasingly beautiful as we uncover them, and it is important to see if the trend continues in the future. (shrink)

Aesthetics is not an area to which the Stoics are normally understood to have contributed. I adopt a broad description of the purview of Aesthetics according to which Aesthetics pertains to the study of those preferences and values that ground what is considered worthy of attention. According to this approach, we find that the Stoics exhibit an Aesthetic that reveals a direct line of development between Plato, the Stoics, Thomas Aquinas and the eighteenth century, specifically Kant’s (...) class='Hi'>aesthetics. I will reveal an interpretation of the aesthetic of the Stoics which has more explanatory power for the history of aesthetic theory than a history of aesthetic theory which leaves out the Stoics. (shrink)

The purpose of this article is to synthesize four major elements of aesthetic experience that have previously appeared isolated whenever an attempt at conceptualization is made. These four elements are: Immanuel Kant’s disinterested pleasure, Robin G. Collingwood’s emotional expressionism, the present writer’s redemptive emotional experience, and, lastly, Plato’s concept of Beauty. By taking these four abstracted elements as the bedrock for genuine aesthetic experience, this article aims to clarify the proper role of art as distinct from philosophy and intellectualization. Rather (...) than a medium conducive to intellectual understanding, it is argued that the sphere these four elements of aesthetic experience demarcate is one in which art leads to an emotional understanding that transforms the human condition and it imbues it with new meaning only to be found in a moment of aesthetic experience. (shrink)

Gauḍīya Vaiṣṇavas frequently assimilate and recast ancient and established ideas and practices to suit and justify their own theology and goals. The final aim of this strategy is to promote their version of mature emotional bhakti, as devotional participation. Their depictions of mature divine interactions are often mapped by way of rasa theory, originating as ancient poetic and dramatic aesthetic theory. Although only explicitly used to map aspects of mature religious experience, this paper explores an often-neglected side of the (...) tradition’s pedagogy, namely its tacit appeal to rasa theory to explain practices meant primarily for ordinary practitioners. An example of this strategy appears in the sixteenth century Gauḍīya treatise, Ṣaṭ-sandarbha. The author, Jīva Gosvāmī, offers a reformulated account of a typical set of Pāñcarātra meditation rituals. However, although the rituals are necessarily performed in the imagination, he paradoxically warns that the generated mental images should not be considered imaginative. By correlating his explanations of these ritual visualisations with elements of his yet to be depicted rasa theory, a consistent and non-problematic role of ritual imagination can be revealed. Since Jīva offers nothing explicit to arrive at this conclusion, this paper infers how a prominent Gauḍīya seems to be reformulating even ordinary ritual by way of rasa theory. This analysis acts as an individual example of a broader strategy in Gauḍīya texts. (shrink)

The term ‘aesthetics’ did not become prominent until the eighteenth century in Germany; however, this fact does not prevent principles of aesthetics from being present in the Middles Ages. Developments in the Middles Ages paved the way for the future development of aesthetics as a separate discipline. Building on notions from antiquity (most notably Plato and Aristotle) through Plotinus, the medieval thinkers extended previous concepts in new ways, making original contributions to the development of art and theories (...) of beauty. (shrink)

A comprehensive reassessment of the concept of mimesis in the history of ancient Greek aesthetics and philosophy of art, with particular attention to Plato, Aristotle, Hellenistic philosophy, and neoplatonism. There is also a wide-ranging review of arguments pro and contra the idea of artistic mimesis from the Renaissance to modern literar theory. The book challenges standard accounts in numerous respects and builds a new dialectical model with which to make sense of the entire history of mimeticist thinking in (...) class='Hi'>aesthetics. (shrink)

This book tells a compelling story about love, friendship, and the Divine that took over a thousand years to unfold. It argues that mind and feeling are intrinsically connected in the thought of Plato, Aristotle, and Plotinus; that Aristotle developed his theology and physics primarily from Plato’s Symposium (from the “Greater” and “Lesser Mysteries” of Diotima-Socrates’ speech); and that the Beautiful and the Good are not coincident classes, but irreducible Forms, and the loving ascent of the Symposium must be interpreted (...) in the light of the Republic, as the later tradition up to Ficino saw. Against the view that Platonism is an escape from the ambiguities of ordinary experience or opposed to loving individuals for their own sakes, this book argues that Plato dramatizes the ambiguities of ordinary experience, confronts the possibility of failure, and bequeaths erotic models for the loving of individuals to later thought. Finally, it examines the Platonic-Aristotelian heritage on the Divine to discover whether God can love us back, and situates the dramatic development of this legacy in Plotinus, Iamblichus, Proclus, and Dionysius the Areopagite. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

This article analyses Eric Rohmer’s film theory in the light of the Platonic triad of truth, beauty and goodness, as embodied by the aesthetic philosophy of Kant, Hegel and Schiller. Although his film theory shows affinity with Kant’s ideal of art as a form of natural beauty, I will argue that a broader look at Rohmer’s philosophical foundations is necessary. The point where Rohmer’s film theory deviates from Kant’s triadic philosophy is exactly the point where he approaches the aesthetics (...) of Hegel and Schiller. Turning towards their idealistic philosophy creates a new understanding of Rohmer’s film theory. His ideas on cinema’s ontology and value mirror both Hegel’s emphasis on beauty as the artistic and immediate manifestation of trans-historical truth and Schiller’s belief in beauty as the condition for morality and freedom. Plato’s conceptual and intertwined triad of truth, beauty and goodness lies at the basis of his affinity to 18th century aesthetic philosophy. This close affinity raises the question of the relation between film theory and philosophy, and Rohmer’s position in this debate. He enriches his own thoughts with those of philosophers that inspired him, and enriches their legacy with his cinema-related conclusions. (shrink)

This book provides a clear and informed account of aesthetic and callistic concepts as they occur in the works of Plato and Aristotle. The author illustrates their ideas on art and beauty by close reference to their texts and finds a profound similarity which unites them, revealing many of their differences to be complementary aspects of an essentially similar viewpoint. He also shows how Greek notions of art and beauty are not merely primitive steps in the advance to modern ideas (...) but have a direct relevance to modern critical controversies. (shrink)

After introducing the main Platonic issues in the field of literary theory and aesthetics, the author discusses Proclus’ relationship to the study of literature in late antiquity; his own literary theory and his use of allegorical interpretation; and the wider context of Proclus’ Neoplatonist aesthetics. She shows how his aesthetics pans out in his view of visual art, as referring to higher realities via Homer’s poetry, and of music, including a form of inspired music. The author then (...) moves on to Proclus’ metaphysics of beauty itself, and the relation between transcendent Beauty and the beauty of the universe. She concludes by pointing out the relevance of Proclus’ literary theory and aesthetics for his metaphysics. (shrink)

The purpose of aesthetic research is to uncover the internal method in human aesthetic behaviors and to answer the following questions: Where do beautiful things come from? Why are things beautiful? What is the reason that some things are beautiful while others are not? How can people derive aesthetic pleasure? Until those fundamental problems are solved, further questions cannot be answered, such as “Why do some people like certain things, while other people like other things?” and “How does human aesthetic (...) taste develop?”The aesthetic study established by the Greek philosophical aesthetician Plato is an ontological approach that suggests that there is something decisive in beautiful things that makes them... (shrink)

The "Introduction" to "Symposium: Beauty Matters" in the Journal of Aesthetics and Art Criticism, Vol. 57, No. 1 (Winter 1999), pages 1-10, is presented here. Abstract: The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. The three essays that follow, authored by Marcia Muelder Eaton, Paul C. (...) Taylor, and Susan Bordo, represent a conjoined effort to move "beauty" beyond the traditional parameters of past contextual theories of art--theories which in their own right (only decades ago and analogous to art criticism itself) opened up rich philosophical terrain beyond the confines of formalism. This introductory essay offer some guidance as to why a symposium on beauty merits attention. Exploring the ways artists and critics have revived the concept of beauty will provide a point of comparison between artworld practices and recent philosophical literature. Most importantly, a new approach to philosophical theorizing will be recommended: one that places questions of gender, race, and sexuality at the forefront of analyzing our experiences of beauty in nature, the human body, and art. Curiously, this new approach is not so much a radical departure from traditional philosophical aesthetics as it is a return to questions basic to the field since the time of Plato: questions about the types of qualities that inhere in objects of beauty, the kinds of experiences they provoke, and the ways we come to value both. (shrink)

Th. W. Adorno’s aesthetics represents a comprehensive reflection on a number of important topics in aesthetic research. Among them is the issue of the aesthetic experience generated by the beauty of nature. In the perspective of Adorno’s theory, the experience of natural beauty is described as a quality that forms in an immanent relation to the historical and social reality of humans. In the first place, one can observe the fundamental dependence of natural beauty on the degree of social (...) domination of nature. By failing to reflect on this social mediation, the experience of natural beauty appears to be immediate and creates the deceptive fantasy of the primordial form of nature. At the same time, however, Adorno uncovers a positive potential in the experience of natural beauty – it lies in the ability to transcend a power-based subjectivity that reduces reality to the substrate of the domination. By means of the transcendence of subjectivity, the experience of natural beauty opens up the possibility to perceive and approach reality in the unreduced fullness of its qualities while also anticipating a reconciliation of man with nature in an allegorical way. The aim of my study is to describe the sketched aspects of the experience of natural beauty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Values of Beauty: Historical Essays in AestheticsDabney TownsendValues of Beauty: Historical Essays in Aesthetics, by Paul Guyer; 359 pp. Cambridge: Cambridge University Press, 2005, $75.00, $27.99 paper.This volume collects thirteen essays that range over topics from the eighteenth century to the twentieth century. The earliest was published in 1986, the last in 2004, and three appear here for the first time. They are grouped topically by period—"I. (...) Mostly before Kant; II. Mostly Kant; III. Mostly After Kant"—rather than chronologically. While this order is useful, it introduces some dislocation if one approaches the book as a whole since the last essay in the book is the first chronologically, and part of the interest of the book lies in the changes in Paul Guyer's positions over time that are reflected in his careful reconsideration of topics that he has dealt with more extensively in his volumes on Kant's [End Page 422] philosophy. As one of the most important contemporary interpreters of Kant's aesthetics, those reconsiderations are well worth attending to.The focus of all of the essays is clearly on Kant's aesthetics. That perspective is clear even when Guyer is discussing the history of aesthetics prior to Kant. As he notes, "this history of the first decades of modern aesthetics has obviously been written with an eye to Kant" ("Origins of Modern Aesthetics: 1711–1735," pp. 32–33). It continues in the discussions of recent aesthetics. For example, Guyer concludes that "the effect that is intended on the revised Beardsleyan definition [of art] is in the tradition of the Kantian concept of the free play of imagination and understanding" ("From Jupiter's Eagle to Warhol's Boxes," p. 313). Danto and Mothersill are also, it is argued, in the Kantian tradition.There are, of course, some problems with this perspective, especially with regard to the pre-Kantian history of aesthetics. For example, Guyer finds Kant's distinction between pure beauty and apprehended beauty reflected in an earlier distinction between beauty of form and beauty of interest or utility. He writes: "The foundation of this theory [Hume's theory of beauty in the Treatise and An Enquiry Concerning the Principles of Morals] is the division of beauty into two classes, the first that of pleasurable sentiment caused by an immediate response—that is, a response not mediated by the intervention of imagination or judgment—to the form or other perceptual qualities of an object, and the second that of pleasurable sentiment, which arises only when the perception of the form of an object is supplemented by a concept or concepts brought to bear on it by imagination or judgment." ("The Standard of Taste and the 'Most ardent Desire of Society,'" p. 46). What Guyer identifies as a distinction between kinds of beauty is for Hume a distinction between sources of ideas, however. The second kind of beauty requires reflection and the combination of other ideas. For Hume, there are not two kinds of beauty but two ways that the ideas of beauty, which is just a form of pleasure, are sorted. Reservations about Guyer's perspective on the earlier history of aesthetics do not detract from the interest of his analysis, however, which is always careful and detailed.The central eight essays labeled "Mostly Kant" trace themes that Guyer has treated in much greater detail in his earlier books. Two central themes are especially prominent throughout these essays. First, Guyer views Kant's theory of beauty as the harmony of the imagination and the understanding: "The concept of the free yet harmonious play between the cognitive powers of imagination and understanding is the central concept in Kant's explanation of the experience of beauty and the analysis of the judgment of taste" ("The Harmony of the Faculties Revisited," p. 77). He refers back to essentially this formulation throughout the subsequent essays. Much of the interest of these essays lies in the way Guyer explicates and defends this central thesis against alternative readings of Kant and objections that it is inconsistent with the freedom from concepts and the purity of beauty that Kant claims.Second, Guyer reads Kant's aesthetics as... (shrink)

In the 1930s, the Bengali philosopher K. C. Bhattacharyya proposed a new theory of rasa, or aesthetic emotion, according to which aesthetic emotions are feelings that have other feelings as their intentional objects. This paper articulates how Bhattacharyya’s theory offers a novel solution to the puzzle of how it is both possible and rational to enjoy the kind of negative emotions that are inspired by tragic and sorrowful tales. The new solution is distinct from the conversion and compensation views (...) that dominate the existing literature, and it derives its significance from how it ties aesthetic experience to self-awareness. (shrink)

All Arts In India Owe Their Roots To The Theoretical Structure Developed By Bharatamuni In His Celebrated Work Natyasastra. His Theory Of Beauty Is Known As The Theory Of Rasa. The Present Volume Has Shown How The Insight Of Bharata Was Developed By The Classical Scholars From Abhinavagupta To Jagannatha Who Propounded The Theories With Names Like Rasa, Alamkara, Riti, Vakrokti, Dhvani Etc. To Employ The Theory Of Beauty From Natya (Drama) To Kavya (Poetry).

German philosopher G. W. F. Hegel problematized the term “aesthetics” in his writings on art. This article attempts to capture the tension between Hegel's theory of art and philosophy of art and its impact on the subsequent theorization of art in the twentieth century as consumer or emancipatory. Music, poetry and plastic arts seem to resonate differently with philosophers such as Plato, Aristotle, Kant, Hegel and Adorno. Plato considered music soothing to the soul. In Aristotle, one could trace the (...) oblique beginnings of the tension between a theory of art and a philosophy of art as he questioned the role of art in philosophy. While Kant's approach is more formal and deals with concepts such as beauty, sublime, genius, and the status of aesthetic objects, Hegel grapples with the rational and emotional aspects of works of art which determine whether art is free or under the thralldom of nature. Both Kant and Hegel distinguished artistic from natural beauty. Critical theorists such as Adorno were also influenced by Hegel. Adorno's analysis of concepts such as mimesis forms an important part of his critique of culture industry. Adorno was also emphatic that classical art could only exist as a product of an epoch. Yet in its dialectical form, art serves as a critique of ideology. Progressively, from the nineteenth to the twentieth century, what began as a crevice between a philosophy of art and a theory of art became a chasm. Thus, begins a contentious relationship between art as a pursuit in itself and art for consumption, that is, art as an integral aspect of consumer culture. The new phenomenon of AI art also poses interesting questions about the paradigmatic shift in dynamics between human element and technology. This article would also attempt to trace how art continues to defy reification, while in the process being consumed constantly, recreating and reinventing itself. (shrink)

By comparing chemistry to art, chemists have recently made claims to the aesthetic value, even beauty, of some of their products. This paper takes these claims seriously and turns them into a systematic investigation of the aesthetics of chemical products. I distinguish three types of chemical products - materials, molecules, and molecular models - and use a wide variety of aesthetic theories suitable for an investigation of the corresponding sorts of objects. These include aesthetics of materials, idealistic (...) class='Hi'>aesthetics from Plato to Kant and Schopenhauer, psychological approaches of Ernst Gombrich and Rudolf Arnheim, and semiotic aesthetics of Nelson Goodman and Umberto Eco. Although the investigation does not support recent claims, I point out where aesthetics does and can play an import role in chemistry. Particularly, Eco's approach helps us understand that and how aesthetic experience can be a driving force in chemical research. (shrink)

Gumbrecht’s Heidegger-inspired book, Production of Presence, provides valuable tools for resolving issues in everyday aesthetics. Gumbrecht distinguishes between “presence cultures” and “interpretation cultures.” We live in an interpretation culture, and yet even in our culture there are presence effects. Gumbrecht understands aesthetic experience in terms of the idea of presence. His paradigms are great works of art and great athletic events, all of which take us away from the everyday. I argue that his theory can be adapted, ironically, to (...) everyday aesthetics, in particular to the experience of taking a walk. Much of what we experience aesthetically while taking a walk is experienced in the mode of silence. But, as Gumbrecht observes, there is an oscillation between presence effects and interpretation effects in aesthetic experience. I see that oscillation as something more like a dialectic. I also bring Plato’s theory of beauty and Danto’s theory of the artworld into this discussion. (shrink)

In memory of Anthony C. Yu who read and commented on an early version of this article.In the comparative philosophy of art, there is a widely accepted view that, while classical Western aesthetic theory emphasizes the unity of beauty and truth, classical Chinese aesthetic theory focuses on the unity of beauty and goodness. Indeed, one striking feature of Chinese aesthetics is its emphasis on moral education and didacticism. Although Western tradition also emphasizes the importance of moral education in art (...) as early as Plato, there had appeared, after Horace and Philip Sidney, a dualist paradigm, which, while giving emphasis to both didacticism and entertainment, tends to put priority on the latter. By.. (shrink)

From the earliest times art has been integral to human culture. Both fascinated and perplexed by the arts, people have tried, since the age of classical Greece, to understand how they work and what they mean. Philosophers wondered at first about the nature of art: what it is and how it relates to the cosmos. They puzzled over how art objects are created, and extolled human skills that seem at times godlike in their powers. But perhaps the central question for (...) such philosophers as Plato and Aristotle concerned our involvement with art: the response we have to beautiful things, the moral and salubrious powers of art, and perhaps most of all, the power of art to transform and transcend, leading us into a condition of enhanced perception that may be wondrous, dangerous, and at times overwhelming. The classical age displayed a richness of discussion that centered on art as an activity: an activity that is at once cosmic, social, and individual; an activity that brings understanding of a sort; an activity that may be salutary and even exalting, as in Aristotle's celebrated discussion of tragedy and its cathartic effects. Since the eighteenth century, however, this has changed. Questions about art have shifted to the idea of experience, paralleling the great change in the focus of philosophy from matters of ontology to those of epistemology. In place of starting from an examination of the nature of the universe and moving to the human position in the order of things, we have come to realize, since Descartes and Kant, that all inquiry has its inception in a human locus. Now, at the end of the twentieth century, we have finally recognized that the human factor in every kind of awareness and knowledge is structurally unavoidable. Art has become both a symptom of this change and a standard for grasping it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image by Mariangela EspositoDoug Al-MainiESPOSITO, Mariangela. The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image. Boston: Brill, 2023. xiv + 173 pp. Cloth, $143.00This manuscript grew out of the author’s original interest in Platonic aesthetics, itself developing into a more particularized examination of Plato’s account of beauty. Plato’s interest (...) in the arts is famously bound up in a broad criticism of their imitative nature; the relation between the original and the imitation, or the eidos and the eidolon, is the core topic of this book. When this binary nature of mimesis is emphasized, it is difficult not to see the two poles as opposed to each other, and indeed there are several passages in the Platonic corpus that tell us directly to value the eidos over the eidolon. “The critique of the arts, in general terms, is based on the assumption that they produce multiple, false, sensorial images (eidola ) that are far removed from the truth, while the truth is a process through which multiplicities are gathered together into an intellectual unity (eidos).” While this duality shows up in the dialogues in numerous ways, Esposito seeks to show a method that transcends it, a method that depends on the experience of [End Page 347] beauty. Beauty is the entity that allows for a transition from the sensual to the intellectual, a point Plato makes in both the Symposium and the Phaedrus, and thereby supports the view that the binary pair of image and original are not so discrete as we might originally believe.Esposito’s analysis of the relation between image and original is made concrete through its application to writing and speech. The book is divided into an introduction, three chapters, and a conclusion that track the progress of our ascent to the eidos, with the first chapter devoted to Plato’s critique of writing, the second to the critique of speech, and the third to an analysis of how beauty facilitates going beyond their opposition. The main sources for the critique of writing are the Phaedrus and the Seventh Letter; Socrates in the Phaedrus explicitly declares writing to be an imitation of speech and the Seventh Letter supports this position. Esposito follows Derrida’s famous essay, Plato’s Pharmacy, stating, “In Derrida’s account of the Phaedrus, this is the main charge against the written word: first, it imitates the original, and then—its second crime—substitutes itself for the original.” The ability of the copy to substitute itself for the original shows a sensitivity on Derrida’s part to the kind of project that Esposito wants to engage in, and indeed a major theme of Derrida’s work was his use of the concept of the pharmakon as something that transgressed a boundary between seemingly discrete opposites; the term pharmakon could refer to either a poison or a cure. But Esposito claims that focusing on the opposition between speech and writing ensures that it will never be overcome, and so this criticism of writing (as an imitation) must be demoted in importance. Esposito therefore ultimately distances herself from Derrida and also spends time taking on the importance of the so-called Unwritten Doctrines, especially as outlined by the Tübingen School. The Tübingen School straightforwardly accepts the criticism of writing in comparison to speech and so develops a theory of unwritten doctrines that Plato would only transfer orally. Given her project of synthesizing the tension between writing and speech, it is unsurprising that Esposito would be hostile to the project of the Tübingen School, “which this work does not consider sustainable.”In the second chapter Esposito moves on to the critique of speech. Here the core of her analysis is given to the Sophist, which provides us with “the best ontological expression of the criticism of image making.” The wider criticism of the Sophist is centered on the observation that appearances are bound up with nonbeing itself; “the biggest challenge posed by the sophist and the main danger of the mimetic mechanism is revealed: both allow the pseudos... (shrink)

Nietzsche presents a challenging conception of aesthetics. One of the most well-known discussions on this issue is presented by Heidegger in Der Wille zur Macht als Kunst. In discussing Nietzsche’s aesthetic theory, Heidegger argues that Nietzsche’s reception of Kantian aesthetics is only ever indirect and necessarily mediated by Schopenhauer. His conclusion hinges on what he considers to be a widespread misinterpretation of Kant’s theory of the beautiful, a misinterpretation that begins with Schopenhauer but characterizes all of Kant’s followers, (...) especially Nietzsche. In this paper, I will consider Nietzsche’s position toward aesthetics from a different perspective, namely in the space between Kant’s and Schopenhauer’s position. The argumentation departs from Nietzsche’s early critique of teleology; his first approaches to aesthetics in Die Geburt der Tragödie ; and his position on the concept of causality and morality. As a careful interpretation of GM III 6 will make clear, Heidegger’s claim that Nietzsche misinterprets Kant is made questionable by the fact that Nietzsche here distinguishes Kant from Schopenhauer’s approach and proposes an artist-based aesthetics in which it is rather Stendhal’s idea of beauty as “une promesse de bonheur” which expresses the human need for illusions in Nietzsche’s conception of aesthetics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Hypothesis Concerning the Character of Islamic ArtAsli GocerWhy Islamic art has the distinctive features it has continues to generate clashing explanations. The Islamic visual treasury has no figural images, for instance, and three-dimensional sculpture or large scale oil painting, but instead contains miniatures, vegetal ornaments, arabesque surface patterns, and complex geometrical designs. To account for the phenomena the following radically opposing theories have been offered: the influence of (...) Judaism, the Quranic prohibition against making images, 1 Islamic resentment of the glory of Byzantine icons, 2 logocentricism of classical Islam, 3 the spiritual dimension of Islam, 4 tacit Islamic assertion of “otherness,” 5 and contingency of history. 6 The merits of these theories have been roundly discussed in the literature, and so I will not repeat the task here. I will insist that none of these theories offer a coherent explanation for all arts, but my presumption is that such an explanation is possible. In nonvisual arts the Muslim prefers simple tunes over that of the symphony, for instance, whirling dervishes over the ballet, and lyric poetry over dramatic literature. In my view what explains the common characteristic of all these arts is a certain kind of Islamic attitude informed by a certain philosophical outlook. Although it would be hasty to suggest the existence of a monolithic [End Page 683] Islamic art, it would be equally rash to deny some striking commonalities among its diverse examples. 7The following observation by a Muslim scholar is notable in this regard: “Whether in the great courtyard of the Delhi Mosque or the Qarawiyyin in Fez, one feels oneself within the same artistic and spiritual universe despite all the local variations in material, structural techniques, and the like.” 8 Some cite geometry as what mediates that feeling to the observer despite the cultural divergences in style. 9 Even those who have given up the search for the universal or the spiritual in Islamic art cannot help but see in it the classical ideal of beauty. 10 It is this classical heritage that in fact holds one of the important keys to the puzzle at hand. In particular I shall claim that Islamic art is the living image of what Plato has in mind for art in a theocratic state. Clearly, to refer to Plato and art in the same breath invites trouble. As is well enough known, giving a general interpretation of Plato’s views on the nature of art is a very complex endeavor. 11 Even in the face of grave difficulties in textual exegesis, however, there is sufficient evidence that Plato has some settled views on art. Those pertinent to our discussion here involve two claims, that beauty and goodness are divine and that all human endeavor (including artistic creation) must imitate the divine. 12 Although Platonic strain in Islam has been noted in other areas, its persistent legacy has been overlooked in art. 13 I shall argue that the Platonic influence on Islamic thought can be traced not only to political philosophy 14 and geometry, 15 as it has been commonly accepted, but also aesthetics. 16 A philosophical explanation of the Islamic attitude toward art may therefore be derivable from the Platonic axiom that god is the paradigm of beauty, which is the cosmological principle of [End Page 684] order and harmony; and as all created things, art, too, must reflect the divine paradigm.Before defending this ahistorical hypothesis on the character of Islamic art so reviled in recent literature, a few caveats are in order. “Islamic art” contains redundant terms. Strictly speaking all art in Islam is “Islamic,” because for the Muslim art is a crucial point of contact with the divine. That art should direct the mind to the divine is also Plato’s view. 17 Second, the categories that have traditionally been used to describe Islamic art such as “aniconic” and “nonrepresentational” are unhelpful for the problem at hand. 18 When it comes to the issue of iconography in Islamic arts, there is no consensus, for Islamicists are notably divided on the semiotic dimension of the Islamic visual language. The question of whether the geometric surface pattern is essentially iconography, for instance, is yet... (shrink)

Gumbrecht’s Heidegger-inspired book, _Production of Presence_, provides valuable tools for resolving issues in everyday aesthetics. Gumbrecht distinguishes between “presence cultures” and “interpretation cultures.” (Gumbrecht 2004) We live in an interpretation culture, and yet even in our culture there are presence effects. Gumbrecht understands aesthetic experience in terms of the idea of presence. His paradigms are great works of art and great athletic events, all of which take us away from the everyday. I argue that his theory can be adapted, (...) ironically, to everyday aesthetics, in particular to the experience of taking a walk. Much of what we experience aesthetically while taking a walk is experienced in the mode of silence. But, as Gumbrecht observes, there is an oscillation between presence effects and interpretation effects in aesthetic experience. I see that oscillation as something more like a dialectic. I also bring Plato’s theory of beauty and Danto’s theory of the artworld into this discussion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.1 (2004) 218-220 [Access article in PDF] The German Aesthetic Tradition, by Kai Hammermeister; xv & 259 pp. Cambridge: Cambridge University Press, 2002, $22 paper. In some ways, aesthetic theory has become a thing of the past. With the exception of a kind of fascination with works such as T. W. Adorno's Aesthetic Theory, aesthetics, as a project or tradition, has surrendered its once monolithic (...) and grandiose position as the philosophical contemplation of art and the notion of artistic beauty to more diminutive fields such as literary theory, poetics, and cultural studies. In some ways, this is due to the very function of aesthetics: the philosophical investigation not simply of what is beautiful, but the formulation of prescriptive ideas about works of art and the judgment them according to these prescriptive ideas. This, in turn, has been looked upon with a certain degree of scorn with the rise of a more pluralistic art world, and the bold denial that art needs the guidance of philosophy let alone have any prescriptive function or be able to be classified as "good" or "bad."However, Kai Hammermeister's The German Aesthetic Tradition takes a very different view. A bold and difficult project, Hammermeister traces the complex and often abstruse contours of German aesthetic philosophy from its inception with Baumgarten in the eighteenth century through Adorno in the twentieth. In the process, he not only provides us with an excellent historical-philosophical account of the development of German aesthetic philosophy, he also implicitly argues for the relevance of aesthetics as a way not only of comprehending art, but of understanding the cohesive links between art, society, culture, and philosophy.The German aesthetic tradition, as Hammermeister refers to it, was a prolonged intellectual argumentation with classical conceptions of art and beauty inherited from classical Greek thought during the eighteenth century. Classical aesthetics was dominated by two opposing conceptions of art and its function. For Plato, art mirrored the outside world (mimesis) and the judgement of good works of art was based on how well this mirroring of the objective world was carried out. Aristotle's idea was that art served a purgatory function (katharsis), cleansing the emotions of the individual through the identification of the observer with the work of art. All of the thinkers in the German tradition [End Page 218] wrestle with this dual conception of art, in some form privileging one over the other—or, more often than not, combining them and extending their explanatory reach. But as in any tradition, they also struggle with the ideas and philosophies of previous thinkers within the tradition itself, making Hammermeister's task more complex. Yet it is one that he handles with adroitness and precision.The book's overarching argument and structure is triadic. Hammermeister sees the eighteenth century through German Idealism and Romanticism as articulating a set of different paradigms for interpreting art. These are subsequently attacked in post-Hegelian philosophy, and are then revived in different ways in the twentieth century as a reaction to Nietzsche's aestheticization of philosophy. Two paradigms emerge as central for the subsequent unfolding of the tradition. First, there is Immanuel Kant's conception of art as a wholly separate from epistemology and from morality. For Kant, the work of art is centered in the experience of the subject and, in terms of form, exists outside its social context. This Hammermeister calls the "first strong paradigm of aesthetics" (p. 40). Next, there is the position of Friedrich Schiller who sees a connection between the work of art and culture, thought, and morality. Schiller writes that, "the culture of beauty demonstrates the freedom of man to turn himself into whatever being he envisions while remaining under the law of morality" (p. 57). For Schiller, there exists a kind of spillover effect of art into other domains of human thought and action—specifically in morality and politics—and this represents a crucial deviation from Kant's paradigm, and another tendency within the tradition of German aesthetics; that is, the aestheticization of other domains of human existence.Schelling and Hegel represent two other... (shrink)

The eminent philosopher and classical scholar Alexander Nehamas presents here a collection of his most important essays on Plato and Socrates. The papers are unified in theme by the idea that Plato's central philosophical concern in metaphysics, ethics, and aesthetics was to distinguish the authentic from the fake, the original from its imitations. In approach, the collection displays Nehamas's characteristic combination of analytical rigor and sensitivity to the literary form and dramatic effect of Plato's work. Together, the papers represent (...) Nehamas's distinct and original contributions to scholarship on Plato and Socrates and serve as a comprehensive introduction to the thought of these two philosophers.In the book's opening section, Nehamas discusses Plato's representation of Socrates as a model of authentic human goodness, showing that Plato's Socrates is a more skeptical, troubling, and individualistic thinker than is usually supposed. The papers in the second section form a sustained defense of a new and important understanding of Plato's theory of the forms and the evolution of that theory in Plato's later writings. The third section examines Plato's contention that popular entertainment--by which he meant Greek epic and tragic poetry--misleads its audience into a debased life, an argument Nehamas relates to modern anxieties about television and other forms of popular culture. The collection also includes a discussion of Plato's use of the dialogue form in his representation of Socrates and carefully examines the combination of literary and philosophical elements in his work.Nehamas argues in the book that Plato's specific judgments of what is authentic are often flawed, but that his idea of authenticity as the mark of truth, beauty, and goodness is stronger than many modern scholars have assumed. In drawing together Nehamas's many influential ideas about Plato and Socrates, Virtues of Authenticity is a major contribution to the study of ancient Greek philosophy. (shrink)

It is shown through examples ranging from Parmenides and Plato to Whitehead and Wittgenstein that beauty is central among the values that have made metaphysical theories appealing and credible. A common attitude would be that the aesthetic properties of metaphysical theories may be important for effective presentation but are irrelevant to the cognitive value of the theories. This however is question-begging, since it assumes without argument that ultimate reality is indifferent to ’value considerations’ such as beauty. If on the contrary (...) we allow that the aesthetic properties of theories may be cognitively relevant, which such properties should be considered? This question is explored in the final section of the paper. (shrink)

Ancient thought, particularly that of Plato and Aristotle, has played an important role in the development of the field of aesthetics, and the ideas of ancient thinkers are still influential and controversial today. "Ancient Aesthetics "introduces and discusses the central contributions of key ancient philosophers to this field, carefully considering their theories regarding the arts, especially poetry, but also music and visual art, as well as the theory of beauty more generally. With a focus on Plato and Aristotle, (...) the philosophers who have given us their thought about the arts at the greatest length, this volume also discusses Hellenistic aesthetics and Plotinus theory of beauty, which was to prove very influential in later thought. "Ancient Aesthetics "is a valuable contribution to its field, and will be of interest to students of philosophy and classics. ". (shrink)

F.W.J. Schelling, one of the essential thinkers in the development of German Idealism, formed his own thought not only in a critical dialogue with Kant's and Fichte's transcendentalism and Hegel's earlier conception of thinking, but also in an intensive discussion with Plato and Aristotle. Over and above that, Neoplatonism - especially Plotinus, Proclus and the Christian Dionysius the Areopagite - played a decisive role in Schelling's reception and transformation of ancient philosophy.Selecting the manifold aspects which could be reflected on in (...) this field, I want to make plausible as a transcendental analogy to Plotinus' concept of self-knowledge Schelling's requirement for a raising-up and transformation of the finite 'I' into the form of the Absolute, whose central features converge with the goal of the Plotinian self - transformation of thought into a timeless self-thinking and its ground.A main part of this paper discusses Schelling's and Plotinus' concept of nature as a dynamic process constituted by an immanent 'creating theoria'. Furthermore we find in Schelling's theory of the Absolute as the 'utterly One' a union of Plotinus' notion of a pure One beyond Being with that of the reflexive self-presence of nous, so that this Absolute can be understood as an All-Unity which grounds and embraces all actuality - because it is in itself the most unifying self-affirmation or self-mediation. What follows is a reflection on the anagogical function of art, especially from the viewpoint of Plotinus' non-Platonic rehabilitation of art as an imitation of nature. The last perspectives focus on Schelling's concept of matter and emanation - as different from and at the same time coherent with that of Plotinus - and on Schelling's theory of an absolute self - willing will in connection with Plotinus' Enneads VI.8, 'On free will and the will of the One' as a causa sui. (shrink)

There has long been a need for a work on the philosophy of beauty treating fundamental problems against the background of the history of aesthetics--ancient and medieval as well as modern and contemporary. This book answers that need with the comprehensive presentations of an objectivist philosophy of beauty to balance the currently popular aesthetic subjectivism. It includes a synopsis of views and theories expressed on the various questions about beauty by philosophers down through the ages. Kovach's acquaintance with relevant (...) literature from the ancient Greeks to twentieth-century authors is staggering. He draws on the observations of thinkers from ancient times--Plato, Aristotle. Philo of Alexandria, Cicero, Plotinus, Augustine, Dionysius the Areopagite, and others; from medieval times--Alexander of Hales, John of la Rochelle, Thomas of York, Bonaventure, Albert the Great, Thomas Aquinas, Dionysius the Carthusian, and others; from modern times--Descartes, J. Addison, Kant, Hegel, Schopenhauer, Nietzsche, Tolstoi, Santayana, Croce, Maritain, Sartre, H. Read, Thomas Munro, and others. With delicate precision Kovach systematically discusses the philosophy of beauty and the problems it raises. Whether or not one agrees with Kovach's objectivist position, no one in the field can afford to be without this book. (shrink)

The third edition of the acclaimed _Routledge Companion to Aesthetics_ contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three (...) is devoted to issues and challenges in aesthetics, including art and ethics, art and religion, creativity, environmental aesthetics and feminist aesthetics. The final part addresses the individual arts, including music, photography, film, videogames, literature, theater, dance, architecture and design. With ten new entries, and revisions and updated suggestions for further reading throughout, _The Routledge Companion to Aesthetics_ is essential for anyone interested in aesthetics, art, literature, and visual studies. (shrink)

Pre-Socratic philosophy. - Plato. - Aristotle. - Post-Aristotelian philosophy. - The Theory of art: Quintilian, Longinus, and Philostratus. - Plotinus. - The lesser Neoplatonists. - Neoplatonic views of three early Christians. - Mediaeval descriptive psychology. - The psychology of the mystics. - Dante's theory of vision. - Conclusion.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 335-346 [Access article in PDF] Aesthetic Incunabula Ellen Dissanayake Incunabula n. pl. (f. L swaddling clothes, cradle): Early stages of development of a thing.Over the past thirty years, developmental psychologists have discovered remarkable cognitive abilities in young infants. Before these investigations, common pediatric wisdom accepted that apart from a few innate "reflexes"--for crying, suckling, clinging, startling--babies were pretty much tabulae rasae for their elders (...) to inscribe as they (and their cultures) decreed. Today, however, it is well established that newborns come into the world with decided preferences and motivations, so that one can speak intelligently of "neonatal" (or even "fetal") psychology. 1The demonstrable existence of inherent psychological capacities in newborns and infants has important implications for twenty-first-century literary theory, which--also over the past thirty years--has operated under the theoretical assumption that all knowledge and experience are mediated by culture and that there is therefore no "natural" psychological or emotional experience. Yet if, as infant psychology confirms, babies in every culture show the same or similar cognitive abilities and preferences and the same or similar motivations and emotional responses, it is necessary to modify the dogmatic assertion that all experience, including literary response, is socially constructed. Rather, adult psychology and experience grow from and build upon inborn motives and preferences. Literary theorists can no longer ignore contemporary knowledge in psychobiology, ethology, and evolutionary psychology that directly pertains to conceptualizing their subject.The innate capacities of newborns predispose them specifically for social and emotional interaction with others, not simply for soliciting [End Page 335] their physical care. For example, newborns prefer human faces to any other sight (high-contrast colors, cartoon characters, cute stuffed animals) and human voices to any other sound (soft music, tinkling bells, The Chipmunks). 2 They can imitate face, mouth, and hand movements and respond appropriately to another person's emotional expressions of sadness, fear, and surprise. 3 At birth, infants can estimate and anticipate intervals of time and temporal sequences and remember these temporal patterns, categorizing them both in time and space and in terms of affect and arousal. 4 By six weeks of age, these perceptual and cognitive abilities of normal infants permit them to engage with adult partners in complex communicative interchanges--the playful behavior that is commonly or colloquially called "babytalk."Babytalk is not the trival or inane pastime that it might superficially seem but, rather, a cradle in which nascent psychosocial capacities can emerge and be developed. Interestingly for literary theory, babytalk achieves these effects through fundamentally aesthetic means. Adult-infant engagements are noteworthy for their use of stylization (formalization or simplification), repetition, exaggeration, and elaboration in visual, vocal, and gestural modalities. I call these "aesthetic incunabula"--that is, sources (or early developmental stages) of the operations used by artists in all media to attract attention and to provoke and manipulate emotional response. The existence of sensitivities to such features in the first months of life suggests that humans are born with natural (innate, universal) predispositions for aesthetic engagement from which cultures and individuals can go on to create their myriad elaborated forms of artistic expression.Although babytalk varies in minor details among individuals and cultures, it can be described in all instances as a multimedia performance. That is, it contains not only "talk" (or the characteristic high-pitched, undulant, breathy, patterned, repetitive vocalizations with pauses called "motherese," "parentese," or "infant-directed speech"). Along with the utterances are peculiarly stereotyped, repetitive, and exaggerated facial expressions (such as widened eyes, uplifted eyebrows, sustained open mouth, and smiles), head movements (e.g., distinct bobs backwards, slow rhythmic nods, movement toward and away from the baby), and gestures (such as touching, stroking, and rhythmic pats) to which infants respond with their own vocal sounds and face and body movements and, in many societies, sustained mutual gaze.Babytalk is not only a performance, but a duet that incorporates both synchrony of behavior and alternation (or turn-taking)--activities that [End Page 336] are made possible by the infant's remarkable inborn sensitivity to temporal sequence and pattern. Microanalyses of videotaped interactions (at 24... (shrink)

Plato's Sophist is complex. Its themes are many and ambiguous. The early grammarians gave it the subtitle1tEp1. 'tau ov'to~ ('on being') and assigned it to Plato's logical investigations. The Neoplatonists prized it for a theory of ontological categories they preferred to Aristotle's. Modern scholars sometimes court paradox and refer to the Sophist as Plato's dialogue on not-being (because the question ofthe possibility of not-being occupies much of the dialogue). Whitehead took the Sophist to be primarily about ouvo.~t~ ('power') and found (...) in it many of the central ideas of process theology.2 Heidegger thought it articulated the 'average concept of being in general'.3 In Cornford's view the Sophist is mainly about truth and falsehood. Ackrill, Frede and most analytic philosophers think it is about predication.4 Stanley Rosen treats it as a metaphysico-aesthetic dialogue: in his view it is about the relation of images to originals.5 As far as the title of the dialogue goes, however, opinion is almost universal. Do not be misled: 'the definition of the sophist' observed Archer-Hind 'is simply a piece of pungent satire'6 and he added that 'we may be sure that (Plato] cared little about defining the sophist, but very much about the metaphysical questions to which the process of definition was to give rise'.7 The most spectacular case of agreement with this judgment can be found in Cornford, who omits to translate the sections on the definition of the sophist because, as he says 'the modern reader ... might be wearied'.8. (shrink)