Some questions naturally spring from this broad theory of art, for example: How is it being imitated, is the imitation a straight copy, a distortion or an improvement in some way? Both Plato and Aristotle, the foremost philosophers of their time, arrived at widely different answers to the questions above. Their differing views on mimesis, as outlined principally in The Republic and The Poetics, were thus partly a consequence of their differences in their ontological and epistemological views of the world.
Clement Greenberg This is Greenberg's breakthrough essay fromwritten for the Partisan Review when he was twenty-nine years of age and at the time more involved with literature than with painting. He came, later, to reject much of the essay -- notably the definition of kitsch which he later believed to be ill thought out as, indeed, it is.
Later he came to identify the threat to high art as coming from middlebrow taste, which in any event aligns much more closely with the academic than kitsch ever did or could. The essay has an air and assurance of '30s Marxism, with peculiar assumptions such as that only under socialism could the taste of the masses be raised.
But for all that, the essay stakes out new territory.
Although the avant-garde was an accepted fact in the '30s. Greenberg was the first to define its social and historical context and cultural import. The essay also carried within it the seeds of his notion of modernism. Despite its faults and sometimes heady prose, it stands as one of the important theoretical documents of 20th century culture.
All four are on the order of culture, and ostensibly, parts of the same culture and products of the same society. Here, however, their connection seems to end. A poem by Eliot and a poem by Eddie Guest -- what perspective of culture is large enough to enable us to situate them in an enlightening relation to each other?
Does the fact that a disparity such as this within the frame of a single cultural tradition, which is and has been taken for granted -- does this fact indicate that the disparity is a part of the natural order of things?
Or is it something entirely new, and particular to our age? The answer involves more than an investigation in aesthetics.
It appears to me that it is necessary to examine more closely and with more originality than hitherto the relationship between aesthetic experience as met by the specific -- not the generalized -- individual, and the social and historical contexts in which that experience takes place.
What is brought to light will answer, in addition to the question posed above, other and perhaps more important questions. A society, as it becomes less and less able, in the course of its development, to justify the inevitability of its particular forms, breaks up the accepted notions upon which artists and writers must depend in large part for communication with their audiences.
It becomes difficult to assume anything. All the verities involved by religion, authority, tradition, style, are thrown into question, and the writer or artist is no longer able to estimate the response of his audience to the symbols and references with which he works.
In the past such a state of affairs has usually resolved itself into a motionless Alexandrianism, an academicism in which the really important issues are left untouched because they involve controversy, and in which creative activity dwindles to virtuosity in the small details of form, all larger questions being decided by the precedent of the old masters.
The same themes are mechanically varied in a hundred different works, and yet nothing new is produced: Statius, mandarin verse, Roman sculpture, Beaux-Arts painting, neo-republican architecture.
It is among the hopeful signs in the midst of the decay of our present society that we -- some of us -- have been unwilling to accept this last phase for our own culture.EUGENICS AND EUTHANASIA QUOTATIONS IN MODERN TIMES.
Like totalitarianism, eugenics and euthanasia have very deep roots in world history. Drawing on the example of the Spartans in his time, Plato specifically endorsed murdering "weak" children in favor of the "strong".
Similarly, he advocated that only men and women with superior characteristics be allowed to mate and bear children. A Defence of Poetry by Percy Bysshe Shelley, answering The Four Ages of Poetry by Thomas Love Peacock.
This essay will be examining the ethics of Plato ( BCE) and Aristotle ( BCE) to analyse, justify and compare the major concepts of the two philosophers therein. I will argue that Aristotle’s solution to the problem of the ‘good life’ is a better answer than Plato.
The history of the term humanism is complex but enlightening. It was first employed (as humanismus) by 19th-century German scholars to designate the Renaissance emphasis on classical studies in alphabetnyc.com studies were pursued and endorsed by educators known, as early as the late 15th century, as umanisti—that is, professors or students of Classical literature.
Forms of Love in Plato's Symposium - Love, in classical Greek literature, is commonly considered as a prominent theme. Love, in present days, always appears in the categories of books, movies or music, etc. Interpreted differently by different people, Love turns into a multi-faceted being.
Plato and Aristotle on Learning through Imitation - Assignment Example On In Assignment Sample Learning through imitation is a .