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The main purpose of this book is to explicate the problematic relationship between the heterogeneity of what is experienced as beautiful and the homogeneity of the conceptualization of that experience, or attempt at such a conceptualization in the era of modern philosophy. While the heterogeneity of what is experienced as beautiful was permitted, and indeed celebrated, in the dominant ancient conception—for example, in the Symposium and Phaedrus of Plato—the need for homogenization in the later appropriation of Plato and in the Enlightenment period relegated the beautiful to the privileged domain of artworks. In her analysis Agnes Heller provides a unique and significant emphasis on the original 'life content' of the experience of the beautiful, which becomes lost in the modern system of the arts. This book details the history of the concept of the beautiful, starting with what Agnes Heller distinguishes between the 'warm' metaphysics of beauty and the 'cold' one—inspired by Plato's Janus-faced relationship to beauty—and ending with a fragmented yet hopeful vision propagated by Friedrich Nietzsche, Walter Benjamin, and Theodor W. Adorno, among others. In between these two historical parentheses—the metaphysical Plato on one hand and the post-metaphysical Nietzsche, Benjamin, and Adorno on the other hand—lay a plenitude of figures and intellectual developments, all of which contributed to the demise of the concept of the beautiful in the Western metaphysical tradition. The most important of these figures and developments are examined in this book.
The main purpose of this book is to explicate the problematic relationship between the heterogeneity of what is experienced as beautiful and the homogeneity of the conceptualization of that experience, or attempt at such a conceptualization in the era of modern philosophy. While the heterogeneity of what is experienced as beautiful was permitted, and indeed celebrated, in the dominant ancient conception--for example, in the Symposium and Phaedrus of Plato--the need for homogenization in the later appropriation of Plato and in the Enlightenment period relegated the beautiful to the privileged domain of artworks. In her analysis Agnes Heller provides a unique and significant emphasis on the original 'life content' of the experience of the beautiful, which becomes lost in the modern system of the arts. This book details the history of the concept of the beautiful, starting with what Agnes Heller distinguishes between the 'warm' metaphysics of beauty and the 'cold' one--inspired by Plato's Janus-faced relationship to beauty--and ending with a fragmented yet hopeful vision propagated by Friedrich Nietzsche, Walter Benjamin, and Theodor W. Adorno, among others. In between these two historical parentheses--the metaphysical Plato on one hand and the post-metaphysical Nietzsche, Benjamin, and Adorno on the other hand--lay a plenitude of figures and intellectual developments, all of which contributed to the demise of the concept of the beautiful in the Western metaphysical tradition. The most important of these figures and developments are examined in this book.
This book details the history of the concept of the beautiful, starting with a distinction between the 'warm' metaphysics of beauty and the 'cold' one modeled on Plato's Janus-faced relationship to beauty, and ending with a fragmented yet hopeful vision propagated by the likes of Nietzsche, Benjamin, and Adorno. The most important intellectual figures to write about beauty in Western metaphysics and in the post-metaphysical age are examined in this book.
Leading art critic and philosopher Arthur Danto here explains how the anti-beauty revolution was hatched, and how the modernist avant-garde dislodged beauty from its throne. Danto argues not only that the modernists were right to deny that beauty is vital to art, but also that beauty is essential to human life and need not always be excluded from art.
Have we become beauty-blind? For two decades or more in the humanities, various political arguments have been put forward against beauty: that it distracts us from more important issues; that it is the handmaiden of privilege; and that it masks political interests. In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms. Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a "surfeit of aliveness." In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness. Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.
Aquinas on Beauty explores the nature and role of beauty in the thought of Thomas Aquinas. Beginning with a standard definition of beauty provided by Aquinas, it explores each of the components of that definition. The result is a comprehensive account of Aquinas’s formal view on the subject, supplemented by an exploration into Aquinas’s commentary on Dionysius’s Divine Names, including a comparison of his views with those of both Dionysius and those of Aquinas’s mentor, Albert the Great. The book also highlights the tight connection in Aquinas’s thought between aesthetics and ethics, and illustrates how Aquinas preserves what is best about aesthetic traditions preceding him, and anticipates what is best about aesthetic traditions that would follow, marrying objective and subjective aesthetic intuitions and charting a kind of via media between the common extremes.
The great philosopher, essayist, poet, and novelist masterfully offers his fascinating outline of Aesthetics Theory. Drawing on the art, literature, and social sciences involved, Santayana discusses the nature of beauty, form, and expression.
The history of aesthetics, like the histories of other sciences, may be treated in a two-fold manner: as the history of the men who created the field of study, or as the history of the questions that have been raised and resolved in the course of its pursuit. The earlier History of Aesthetics (3 volumes, 1960-68, English-language edition 1970-74) by the author of the present book was a history of men, of writers and artists who in centuries past have spoken up concerning beauty and art, form and crea tivity. The present book returns to the same subject, but treats it in a different way: as the history of aesthetic questions, concepts, theories. The matter of the two books, the previous and the present, is in part the same; but only in part: for the earlier book ended with the 17th century, while the present one brings the subject up to our own times. And from the 18th century to the 20th much happened in aesthetics; it was only in that period that aesthetics achieved recognition as a separate science, received a name of its own, and produced theories that early scholars and artists had never dreamed of.
Beauty today is a paradox. The cult of beauty is ubiquitous but it has lost its transcendence and become little more than an aspect of consumerism, the aesthetic dimension of capitalism. The sublime and unsettling aspects of beauty have given way to corporeal pleasures and 'likes', resulting in a kind of 'pornography' of beauty. In this book, cultural theorist Byung-Chul Han reinvigorates aesthetic theory for our digital age. He interrogates our preoccupation with all things slick and smooth, from Jeff Koon's sculptures and the iPhone to Brazilian waxing. Reaching far deeper than our superficial reactions to viral videos and memes, Han reclaims beauty, showing how it manifests itself as truth, temptation and even disaster. This wide-ranging and profound exploration of beauty, encompassing ethical and political considerations as well as aesthetic, will appeal to all those interested in cultural and aesthetic theory, philosophy and digital media.
Danto argues that recent developments in art--in particular the production of works that cannot be told from ordinary things--make urgent the need for a new theory of art. He demonstrates the relationship between philosophy and art and the connections that hold between art, social institutions, and art history.