By Stephen Davies
During this commonly revised and up to date variation, 168 alphabetically prepared articles offer finished remedy of the most issues and writers during this region of aesthetics.
- Written by means of popular students overlaying a wide-range of key issues in aesthetics and the philosophy of paintings
- Features revised and increased entries from the 1st version, in addition to new chapters on fresh advancements in aesthetics and a bigger variety of essays on non-Western considered artwork
- Unique to this version are six evaluation essays at the background of aesthetics within the West from antiquity to trendy instances
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Additional info for A Companion to Aesthetics
Halliwell, Stephen. 2002. The Aesthetics of Mimesis. Ancient Texts and Modern Problems. Princeton: Princeton University Press. Halliwell, Stephen. 2005. ” In A Companion to Greek Tragedy. J. ). Oxford: Blackwell, 394–412. Lombardo, G. 2002. L’estetica antica. Bologna: il Mulino. Nussbaum, Martha C. 1993. ” In Passions and Perceptions. J. Brunschwig & M. C. ). Cambridge: Cambridge University Press, 97–149. 21 h i s t o r i c a l o ver views Panofsky, Erwin. 1968. Idea: A Concept in Art Theory. J.
There is, however, an enigma here. If those aspiring to Stoic virtue can witness in tragedy the false values that lead to extreme suffering, do they do so by passing through but beyond pity and fear, or by resisting such feelings altogether? It remains unclear whether Stoics wanted to reinterpret the emotional experience of tragedy or replace it with a didactic alternative (Halliwell 2005: 405–9). This may reflect a general tension between cognition and emotion in their thinking about poetry. One final development in Hellenistic aesthetics deserves mention here.
The nature and implications of mimesis are most extensively and intricately explored in this period by Plato and Aristotle. But there are traces of a wider culture of discussion on the subject. 1–8, a partly fictionalized collection of memories of Socrates, the latter asks the painter Parrhasius whether his “imaging of the visible” can include depiction of strictly nonsensory qualities such as a person’s “character”: Parrhasius at first resists but is brought round by a suggestion that such qualities might be shown “through” physical expressions, especially on the face.
A Companion to Aesthetics by Stephen Davies