By Charles Taliaferro
What's artwork? Why will we locate a few issues appealing yet now not others? Is it incorrect to proportion mp3s? those are only a few of the questions explored by means of aesthetics, the philosophy of artwork. during this sweeping creation, Charles Taliaferro skilfully courses us via notions of artwork and wonder worldwide, tackling energetic debates akin to who owns paintings and the way artwork and morality collide. From Plato on poetry to Ringo Starr at the drums, it is a ideal introductory textual content for an individual drawn to the exciting questions paintings can bring up. Charles Taliaferro is Professor of Philosophy at St. Olaf university, Minnesota. he's the writer of over twenty books on philosophy and lectures on Aesthetics and the Philosophy of faith.
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- A Companion to Ancient Aesthetics (Blackwell Companions to the Ancient World)
- Synthetic Aesthetics: Investigating Synthetic Biology's Designs on Nature
Extra info for Aesthetics: A Beginner's Guide
1912, 46) This theory of 'empathy', or 'feeling into' as she later terms it, underpins Lee's experiments in psychological aesthetics which she understands as a form of 'aesthetic Empathy' (Introduction to Anstruther-Thomson 1924, 73). Yet this idea of 'feeling into' something, or someone, might also account for Lee's relationship with the Introduction 13 past (particularly in her fantastic tales), for that exquisite sense of place that defines her travel writing, for the suggestiveness of her art criticism, for her pacifist rejection of a partisan position during World War One, for her conscious or unconscious literary interaction with male writers such as her brother Eugene, Walter Pater, John Addington Symonds, Oscar Wilde, and Henry James, and even, perhaps, for that conflict between design and imagination which we referred to earlier.
Exists in a dialectical opposition to the concept of empathy', a shift that appears paradoxical in the writer known for introducing this concept into British aesthetics (Plain 2000, 15). By way of explanation, Plain asserts that this tells us something 'about what was considered appropriate for a woman writer' in a period 'when women were still fundamentally associated with emotion and set in opposition to the public world of (supposed) rationality and political affairs' and that it is 'the very "appropriateness" of the association of the woman writer with empathy that prevents commentators from noticing that although she [Lee] may have mobilized the concept, it is a notion completely alien to her literary practice' (Plain 2000, 15).
It appears that the 'transhistorical empathy' which informs so much of her fiction finds its echo in her literary criticism. Lee's desire to experience the past is translated in The Handling of Words into a desire to experience past writers. However, as so much of Lee's fiction makes clear, the past and the dead can possess, and overwhelm the present, and such recovery Introduction 19 always carries its own risks. It is perhaps this fear of 'possession' that led Virginia Woolf to dismiss Lee as a 'garrulous baby'.