Moreover, art, as a philosophical branch, is using the same emotive and rational methods as philosophy not only to represent the forms, but also to find the truth. In Plato’s Republic, one of the most influencing books in history of philosophy, Plato begins with several crucial arguments. First he states that the artist produces an insubstantial “imitation” of objects in the sensible world that are themselves less real than the forms, which comprise reality itself (Plato.2009.598b). Further, he states that poesis is psychologically damaging in its subversion of reason (Plato.2009.441e).The intensity of Plato’s argument consists from his desire to supplant art as a platform for modern education in Athenian education. However, it made him miss one point.
In order to find the full truth, the viewer must picture him or herself in the painting. As it reveals these important truths, the work of art must furthermore rely on the painting’s substance and being that is outside of that particular work of art itself. In closing, just as Heidegger stated in his argument against aesthetics: “The art work opens up in its own way the Being of beings. The truth of beings happens in the work. In the artwork, the truth of what is has set itself to work.
In this book the Wilde's fiction and reality is very peculiar intertwined with fantasy. Beauty is the fundamental paradox of the novel. Assessing the significance of beauty by, on the one hand, focuses on the fact that ugly people and art has always been perfect. On the other hand, that the beauty of art is necessary redemption of human sins, as morality and beauty make harmony. Beauty - a very individual concept.
The primary theme of the works of Fellini is the role of the poet as reader. Neoconstructive desituationism holds that expression comes from communication, given that Lacan's essay on objectivism is valid. But if Batailleist `powerful communication' holds, we have to choose between structuralist rationalism and postmodern textual theory. If one examines objectivism, one is faced with a choice: either accept Batailleist `powerful communication' or conclude that art is part of the dialectic of reality. Debord uses the term 'textual theory' to denote the meaninglessness, and hence the rubicon, of prematerial class.
Exploring poetic form with particular attention to ekphrastic representation and the mock-epic genre enables Chico to extrapolate social significance and assert that aesthetic choice signifies Pope’s concern regarding the inherent value of different arts. That is, Pope’s heavily ekphrastic method of female representation effectively demeans cosmetic artistry, while lionizing his art of the masterfully crafted poem. Pope sought to keep the art of beauty in check—alleges Chico—as the power of cosmetic beauty “[threatened] to emasculate the viewer” (11). Chico offers a compelling evaluation of the relationship between Pope and his subject, particularly in her discussion of To a Lady, where the primacy of poetry over physical beauty is most evident. Rather than looking at female portraits, reading Pope’s poetry is the best way to seek “truth” about women (18).
This is a remarkable charge, since Hume explicitly sets out to introduce an aesthetic standard for "confirming one sentiment and condemning another." I examine Budd's arguments and conclude that Hume's position-and the empiricist tradition that it inaugurated-can withstand them. The attempt to set up a standard for assessing the merit of works of art, based upon contingent connections between these works and the sentiments (feelings of pleasure or displeasure) of spectators, was famously made by David Hume. His attempt remains the locus classicus for those philosophers who attempt to found the aesthetic judgment upon empirical, rather than a priori, grounds. I have myself given it a limited defense (1).
Therefore, when Benjamin turns to focus on aura, reproducibility, exhibitionability, and distraction, it does not weaken or undermine what the introduction claims because these concepts are being used to explain politics. Benjamin relates the traditional aesthetic values of art to fascist ideologies, which provoke revolutionary demands in the politics of art. However, there are points within the essay that do undermine his political goal, which is seen through lofty metaphors, his own agenda and his command of language. According to Benjamin, the concept of aura is the ambience of severed beauty and power supporting cultic societies. Therefore, traditional art, specifically paintings, create an illusion of reality that is momentous because it mirrors our gaze because it has the concept of aura and follows the same timeline of the viewer.
According to the philosopher, Art and Tragedy are copies of copies, the copies of the sensible world. He argues that there is a crisis on moral grounds: Art encourages and stimulates passions inducing human beings' to approach them. For Aristotle on the contrary, the creation of an Artwork allows for the materialization of an idea and then its manifestation. According to the philosopher, beauty is order and symmetry and Art represents its imitation, not limited just to the reproduction of the sensible world. There then came a complete revaluation of the concept of Art that Plato despised, with new ideas explaining Art as not representing the imitation of the sensible world, but of ideas themselves.
A great number of works of art, it is universally claimed, are aesthetically precious. Some philosophers have even argued that providing an aesthetically pleasing experience is their only proper function. The truth is that some of these artworks display or invite us to adopt an immoral point of view. Even worse, they even seem to make immoral situations delightful and appealing. Two of Robert Browning’s dramatic monologue, ‘Fra Lippo Lippi’ and ‘Andréa del Sarto’ show two perspectives of artist’s life and their way of looking at it.
Samuel Johnson seems to revisit Plato's attack upon art with his admission that an accurate imitation of morally questionable subject matter is not only unacceptable, but potentially harmful to those who encounter it. In order to accommodate a strong moral sense, Johnson describes imitation as a process of interpretation. "The business of a poet... is to examine, not the individual, but the species.