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Additional Information In lieu of an abstract, here is a brief excerpt of the content: The Aesthetic Point of View: Selected Essays, by Monroe C. Beardsley, edited by Michael J. Wreen and Donald M. Discussed by Martin Steinmann, Jr.
MONROEC beardsley published his first article in aesthetics inand — not counting about twenty-five articles in Shipley's Dictionary of World Literature, — his second and most influential one in Between then and publication of The Aesthetic Point of View he published about seventy-five more articles, numerous reviews, and disregarding edited books three books: The number, the range, and above all the quality of Beardsley's writings have made him the most eminent living American aesthetician.
Whether or not the intentional fallacy is indeed a fallacy or just so-called, it was the most influential single notion in American literary theory and criticism for at least three decades, being almost on all fours with affirming the consequent in traditional and symbolic logic.
And, as the editors of The Aesthetic Point of View observe in their excellent introduction, "Aesthetics: Problems in the Philosophy ofCriticism. More than any other single text, it set analytic aesthetics on its feet and made the philosophy of art a respectable area for contemporary Anglo-American philosophers to work in" p.
Indeed, it almost singlehandedly prevents textbooks that are distinguished works of scholarship from being a null class. The virtues of Beardsley's writings in aesthetics lie not solely or even chiefly in his being right or more plausible than other comers. Often he is, of course.
But Philosophy and Literature what is most impressive and memorable are other qualities: At the root of these virtues is his unflagging resistance to the heady allure of the metaphysical pathos that has in recent years won large and enthusiastic followings for many gurus of literary theory here and on the continent — especially "the pathos of sheer obscurity, the loveliness of the incomprehensible," and "the pathos of the esoteric Its twenty essays exhibit Beardsley's characteristic virtues.
They represent his work from the early sixties to the early eighties on the issues that most engaged him: And, as the editors point out, they have a unity suggested by the title the book shares with its opening essay. At the heart of the aesthetic point of view is Beardsley's conviction that there is such a thing as aesthetic experience and that the paradigmatic but not the sole source of this experience is the act of apprehending human creations intended to afford this experience — namely, works of art.
In one way or another, his other aesthetic interests and convictions — about aesthetic value, for example, and interpretation — follow from this conviction. But The Aesthetic Point of View is more than just a sampler. For it includes six essays, written expressly for this book, in which Beardsley reconsiders his earlier views on important aesthetic issues.
Five of them compose the concluding part:Essays explore the philosophy of art, the definition of a work of art, the aims of art criticism, and the nature of creativity.
The Aesthetic Point of View: Selected Essays. Monroe C.
Beardsley. Cornell University Press () Abstract This article has no associated abstract. (fix it) Keywords Aesthetics Art criticism: Categories Aesthetic Cognition in Aesthetics. Aesthetics (categorize this paper) Buy the book. 1 Philosophy Faculty Reading List and Course Outline PART II PAPER AESTHETICS COURSE OUTLINE Aesthetics can be seen as comprising two, .
Philosophy Faculty Reading List and Course Outline we can ask, what makes it the case that Monroe, 'The Aesthetic Experience', in his The Aesthetic Point of View: Selected Essays (Ithaca, NY: Cornell University Press, ), pp.
Also Paul, 'Science and Art', in his From a Deflationary Point of View (Oxford: Oxford. The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities.
Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts.
However, this definition is merely a starting point for his theory of art's value. To some extent, the value of art, for Tolstoy, is one with the value of empathy. However, sometimes empathy is not of value.