By Monroe C. Beardsley
“Beardsley’s publication accomplishes to perfection what the author meant. It illuminates a space of heritage from a undeniable viewpoint as used to be by no means performed earlier than. . . . The distinguishing characteristic of his e-book is a n pleasure over every little thing I aesthetics that has to do with symbols, meanings, language, and modes of interpretation. And this pleasure has dropped at mild features of the heritage f the topic by no means spotted sooner than, or no less than, no longer so clearly.”
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Additional info for Aesthetics from Classical Greece to the Present
W. C. Greene, "Plato's View of Poetry," Harvard Stud Class Philol XXIX (1918). J. Tate, "'Imitation' in Plato's Republic," Class Quart XXII (1928): 16-23. _ _ _ , "Plato and 'Imitation,''' Class Quart XXVI (1932): 161-69. _ _ _ , "On Plato: Laws X 889cd," Class Quart XXX (1936): 48-54. _ _ _ , "Plato and Allegorical Interpretation," Class Quart XXIII (1929): 142-54, XXIV (1930): 1-10. Edith Watson Schipper, "Mimesis in the Arts in Plato's Laws," Jour Aesth and Art Crit XXII (Winter 1963): 199-202.
R. G. Steven, "Plato and the Art of His Time," Class Quart XXVII (1933): 149-55· N. R. Murphy, The Interpretation of Plato's Republic (Oxford, 1951), ch. I I . D. R. Grey, "Art in the Republic," Philos XXVII (1952): 2913 10. Plato 53 Craig LaDriere, "The Problem of Plato's Ion," Jour Aesth and Art Crit X (Sept. 1951): 26-34. J. G. Warry, Greek Aesthetic Theory (New York, 1962), chs. 1-4. Evanghelos Moutsopoulos, La Musique dans l'oeuvre de Platon (Paris, 1959). E. Huber-Abrahamowicz, Das Problem der Kunst bei Platon (Winterthur, 1954).
When Aristotle inquires into the "nature" of something, his inquiry is likely to have two distinct aspects-or aspects which we find quite distinct (and have come, in the light of later philosophical developments, to want to keep separate), but which Aristotle sees as inherently connected. He asks: what is the nature of the poetic art? And the answer is both normative and descriptive. For it involves a set of categories that playa fundamental role in all his thinking: the "four causes," or four types of explanation (see Physics II, vii).
Aesthetics from Classical Greece to the Present by Monroe C. Beardsley