Plato, in the “Republic “, ambitiously sets out to prove that art imitates reality by distracting

Why do ordinary, rational, human beings actively and knowingly seek out art that appears to elicit negative emotions, especially as these same people tend to avoid such emotions in other areas of their life? This question formally understood as the paradox of painful art is what Hume effectively attempts to address in his essay 'Of Tragedy'. In this essay I will conclude that Hume's solution to this paradox; that painful emotions elicited by art are converted into pleasurable ones; is indefensible. I will first offer my reading of Hume's solution to the paradox of painful art. I will then argue that Hume fails to give a satisfying account of the process of the conversion he proposes, I will then go onto show that Hume's conversion theory

1. Plato and Tolstoy argued that art can be dangerous because audiences can identify with many of the characters portrayed in any specific work, and

b. Thesis: The main idea of Plato Allegory is the opinion that everything we perceive in this world are reflections of the ultimate forms, which represent reality. And This discussion on Plato’s Allegory help us understand people truth and belief in fake news.

Plato is remembered as one of the worlds best known philosophers who along with his writings are widely studied. Plato was a student of the great Greek philosopher Socrates and later went on to be the teacher of Aristotle. Plato’s writings such as “The Republic”, “Apology” and “Symposium” reveal a great amount of insight on what was central to his worldview. He was a true philosopher as he was constantly searching for wisdom and believed questioning every aspect of life would lead him to the knowledge he sought. He was disgusted with the common occurrence of Greeks not thinking for themselves but simply accepting the popular opinion also known as doxa. Plato believed that we ought to search for and meditate on the ideal versions of beauty, justice, wisdom, and other concepts which he referred to as the forms. His hostility towards doxa, theory of the forms, and perspective on reality were the central ideas that shaped Plato’s worldview and led him to be the great philosopher who is still revered today.

This document explores the meaning of human life, its purpose, what it serves for and also

“Art is an irreplaceable way of understanding and expressing the world. There are some truths about life that can be expressed only as

In Books VI and VII of the The Republic, Plato uses the four analogies to represent his theory of justice in the ideal state. The four analogies include the ship, the sun, the divided line, and the cave. The analogies of the ship, and the cave are used by Plato to represent the people of the state and proving his argument that philosophers are the true rulers of the state. The divided line and the sun analogies also supports Plato’s point about philosophers obtaining intellectual knowledge apposed to the ordinary citizens who only have sensible knowledge. Plato argues that the ordinary citizens can be educated but will never reach the level of knowledge that the philosophers have. Plato’s points, although supported by the four analogies

In his essay, “The Allegory of the Cave,” Plato, argues his idea of how to distinguish the reality and truth from that which is a falsehood. Most essentially, he finds it as important to enlighten others that may remain in that

This paper discussed The Allegory of The Cave in Plato's Republic, and tries to unfold the messages Plato wishes to convey with regard to his conception of reality, knowledge and education.

Human emotions remain as one of the world’s biggest secrets. Like sleep, we know what happens to our body when we experience these emotions whether it be a release of hormones or a certain area on the body becomes more sensitive. But we don’t know why we have them, experience them, or what purpose they serve. All we know is everyone’s emotions behave differently. Different types of arts can elicit completely different emotional response from people. Some art may have the ability to appeal to dangerous emotions in certain people. Whether it be the corruption of a once faithful and beautiful young girl, plagued by the desire for romanticism and lofty ideas, or a handsome young nobleman who is obsessed with living life to fullest. Both are fueled by the emotion that a certain type of art elicits in them, leaving them in a never ending chase that ruins there life’s. In the Novels Madame Bovary and The Picture of Dorian Grey the protagonists in these stories perfectly exemplifies the danger of arts emotional appeal by showing the corruption and eventual downfall of two once young and beautiful souls by exposing them to art that pleases dangerous emotions such as desire, pleasure, entitlement and disappointment.

This portrayal of emotions, of the inferior part of the soul, in Plato’s beliefs, “awakens and nourishes and strengthens the feelings and impairs the reason.” (41) Plato considers this indulgence irrational and useless. The superior and rational person (the ideal statesman) would pride himself on the opposite qualities and in times of sorrow or passion would suppress urges to openly sorrow or indulge in pleasures. Summing up Plato’s philosophy, the imitative artist is a long way from the truth and can write or paint any and all things because he does not know about the subjects he creates; he denies the rational principle of the soul and overly indulges in emotion resulting in the neglect of justice and virtue, (45) and has not found a proper purpose in the ideal state.

Throughout history, specifically in ancient Rome and Greece, people admired painting to the point where it was taught to every son of respectable families, yet forbidden to the slaves. This goes to show how this form of art in particular was considered fit only to those of high social class. Although it was reserved for the educated and cultured, painting attracted everyone and pleased them equally. In particular, “[n]ature herself delights in painting.”(Alberti 64) Alberti persists in showing us how painting is of nature; he first references nature by saying that Narcissus was the inventor of painting. In the myth of Narcissus, nature plays the role of the artist who paints a portrait so beautiful that Narcissus cannot take his eyes off of it. To further convince the reader of the pleasures painting gives, the author recounts a personal anecdote of how gratifying and relaxing painting can be.

The role which morality should play in art has been contested for as long as art has existed. Some say that art is to be used to influence society to become better, to teach the audience, while others say that art should be for arts sake, independent of society’s current view on morality. Three paintings from three different art periods will be explored to see how morality’s role in art is approached differently. David’s “The Death of Marat” shows how art can be a vehicle for moral education, Daumier’s “The Laundress on the Quai d’Anjou” honours character produced from suffering, and Manet’s “Olympia” harshly criticises France’s moral hypocrisies. Although not all artists set out to show morals in their art, their paintings subconsciously reflect the time that they were in, which involves society’s morals.

As literary critics, Plato and Aristotle disagree profoundly about the value of art in human society. Plato attempts to strip artists of the power and prominence they enjoy in his society, while Aristotle tries to develop a method of inquiry to determine the merits of an individual work of art. It is interesting to note that these two disparate notions of art are based upon the same fundamental assumption: that art is a form of mimesis, imitation. Both philosophers are concerned with the artist's ability to have significant impact on others. It is the imitative function of art which promotes disdain in Plato and curiosity in Aristotle. Examining the reality that art

Here, he is a believer in those who use knowledge to understand nature in reality and is against people who use their senses through art to understand the beauty of nature. In addition, Plato says artists promote the use of our senses over reason through something they do not have an experience of. According to Plato, “There are philosophers, who form an idea, then a craftsperson, who makes the physical representation of the idea, and then the poor artist who creates a copy of a copy of that idea” (Blocker 5). In this sense, an artist has no clue what he is creating because his works are only imitations of other people’s ideas. Therefore, Plato considered artists to be dangerous in the human society because they are not experts in the representations they create.