Download Art and Analysis: An Essay toward a Theory in Aesthetics by Edward G. Ballard PDF
By Edward G. Ballard
Aesthetics, fledgling of the philosophic brood, is the main suspect of that family members. it truly is suspected of all of the philosophical sins: vagueness, sickness, dogmatism, emotionalism, reductionism, compartmentalization. occasionally its formative years is assumed to be a enough excuse for those divagations. occasionally the very nature of its content material, related to the waywardness of genius, the remoteness of feeling from mind, the surd of concept in even the mildest appreciation, are believed to sentence aes thetics irrevocably to the bottom of the civilized man's area. a few philosophers have gloried during this it sounds as if mystical and a-rational caliber and feature obvious in it the very nature of the gorgeous; others have come to treat it, really, as facts of the unskillfulness of our minds and feature grew to become clear of aesthetic difficulties to the duty of sprucing the aesthetician's language and good judgment. The laughter of the gods isn't really tricky to parent during the poetry of the extra mystical aesthetician or during the prose of the analysts. in the meantime the manifold complexities and difficulties of aesthetic event invite our knowing. for classy event is a gift truth of human lifestyles and will, possibly, be understood via males. Such, at the very least, may be the current assumption. that is why why the name of this booklet mentions paintings including research; for if artwork is intelligible, the murals and the adventure of it can be analyzed into its useful parts.
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Additional info for Art and Analysis: An Essay toward a Theory in Aesthetics
Prometheus Bound has been called one of the most impressive and affecting dramas in all of literature. This judgment seems to be hardly less true for the modem reader who has access to the play only in translation than for Aeschylus' contemporaries. Evidently, then, poetic values can sometimes be more independent of their original poetic vehicle than they are thought to be. It will be interesting to ask just what this poetic quality is which survives translation. I suggest that this aesthetic quality is to be found in the very great richness of the myth which, in its handling in this play, is forced upon the reader.
Dewey's apparent repudiation of abstractions may be interpreted as an allopathic remedy for undigested theory. He can scarcely be believed to intend to reject theory in toto. Rather his constant reference to the interpenetration of conceptions, to the fusion of feeling and thought, to the funding of experiences, all point to an effort to blunt the artificially sharp outline of concepts. But they are blunted in order to bring them into a juster relationship with life. Dewey has taken as his realm the twilight zone between theory and experience.
As his culture develops he disciplines the jungle growth of his free reverie according to artistic laws. " Other theorists - Lange, Hennequin, Grant Allen - have developed Schiller's suggestions in detail. Konrad Lange shows that the varied art forms have in every instance their origin in a specific form of play. But even if the amusement of a child playing among the lights and shadows of an empty bam can be shown to move by simple evolutionary steps to a Rembrant's contemplation of chiaoscuro, no explanation of the phenomenon of the aesthetic experience would have been achieved.