By Monroe C. Beardsley
“Beardsley’s e-book accomplishes to perfection what the author intended. It illuminates a space of background from a definite standpoint as was once by no means performed sooner than. . . . The distinguishing function of his publication is a n pleasure over every little thing I aesthetics that has to do with symbols, meanings, language, and modes of interpretation. And this pleasure has delivered to gentle points of the heritage f the topic by no means spotted earlier than, or not less than, no longer so clearly.” —The magazine of Aesthetics and artwork Criticism
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Extra info for Aesthetics from classical Greece to the present : a short history
Theaetetus speaks judiciously, then, in the Sophist (234b; trans. " In view of this diversity, any English word we might use to translate "mimesis" and its allied terms is bound to be mislead· ing, for no English word that might serve has an equally unre· stricted sense. "Representation" is possible, because it has several senses: the Senator represents his constituents, the picture repre· sents the object, the trade·mark represents the product. "Mimesis" perhaps carries with it a stronger notion of copying, of being modeled upon; but this is present in "representation," too-even the Senator, when truly representative, may be said to mirror in his vote the will of those who put him into office.
Jowett). When one knife-maker copies a knife made by another, what he produces is not the image of a knife, but another knife; perhaps a little indirectly, but nevertheless genuinely, he is guided by the knife-Form. But 36 Aesthetics tram Classical Greece to the Present a picture of a knife lacks the weight, the sharpness, the hardness of the actual knife, and it will not cut-it is an objet manque. It is both true and untrue, has both being and nonbeing (SoPhist 240c) . Because it leaves out important properties, it is of a lower order of reality than its archetype.
The idea of approaching the problem of critical evaluation by looking for a particular kind of enjoyment that it is the function of a particular art, or genre of art, to give, is a very important one. And this seems capable of empirical investigation. What is it about serious drama, generally speaking, that draws us to it, that creates the demand? And what is the impulse that produces the supply? Aristotle asks the second question (ch. 4), but evidently thinks of his answer as also bearing on the first one.