By Stephen Davies
During this generally revised and up to date variation, 168 alphabetically prepared articles offer entire therapy of the most themes and writers during this sector of aesthetics.
- Written by means of sought after students masking a wide-range of key issues in aesthetics and the philosophy of artwork
- Features revised and elevated entries from the 1st variation, in addition to new chapters on contemporary advancements in aesthetics and a bigger variety of essays on non-Western thought of paintings
- Unique to this version are six evaluation essays at the background of aesthetics within the West from antiquity to fashionable occasions
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Additional resources for A Companion to Aesthetics
Among Philodemus’ many targets in On Music were Stoic thinkers who regarded music, as well as poetry and painting, as providing fundamentally cognitive experiences that could enhance perception and judgment of reality. Much of the primary evidence for Stoic aesthetics has not survived; treatises on poetry, for instance, by the first three heads of the school – Zeno of Citium, Cleanthes, and Chrysippus – have been lost. But the holistic cast of Stoic thinking makes reconstruction easier than it might otherwise have been.
The two most important positions to emerge on the subject were those of Plotinus (205–70) and Proclus (412–85). Both thinkers created complex philosophical systems of their own. The aesthetic component in their work cannot be separated from their overarching metaphysics; only some pointers can be given here. 20 Everything in Plotinus’ Enneads belongs to a unified, hierarchical cosmos, in which reality emanates creatively from the ultimate source of being (the One) through the levels of “intellect” and “soul”; part of soul is nature, which produces a spatiotemporal world within the negative receptacle of matter.
24–7). 6 does. 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.
A Companion to Aesthetics by Stephen Davies