The Beautiful in Kant's Third Critique and Aristotle's Poetics

Within this passage the central idea of “beauty” is developed by Crommelynck’s explanation of beauty and its application to art, and more specifically, poetry. Crommelynck’s description of the beauty develops the idea because it gives an understanding of how wide the scope is for something to be beautiful. She also explains that beauty cannot be created and how it instead resides in something which ties in with her view on truth in art. She believes that if an art form is truthful then beauty can reside in it. This develops on the concept of what beauty

The concept of beauty is shown to be highly valued in the story and the society that the story is set in. For example, Beauty chooses to marry the third and final man because he is a handsome scholar. Beauty is tricked into being pushed down a well because of beauty. “’Sister, come and look into the well. We will see which of us is the more beautiful’” (Lin Lan 129). They do not compare who is most skillful or who is the most intelligent; they value beauty so much that the concept is the only thing they decide to be compared on. The scholar, Beauty’s husband, is shown to also cherish beauty. He is horrified to see Pock Face instead of his beautiful wife and reacts very dramatically. “’Goodness! How changed you are! Surely you are not Beauty. My wife was never such a monster. Good Heavens!’” (Lin Lan 129). These examples serve as indicators of how much the characters, and therefore the story, are so intensely focused on the concept of physical

Kant argues that beauty is symbolic of morality. Werner S. Pluhar states, “Only man is capable of an ideal of beauty, and the ideal involves the concept of man’s

The idea that the object of pity does not deserve his fate is present in the definition Aristotle offers in the Rhetoric; in the Poetics, however, Aristotle exploits the concept of similarity in order to explain the terror that tragedy induces. If the characters on stage are enough like ourselves-the context indicates that the sense is morally similar-then we will experience their fear as our own. (Konstan, 1999, pg. 1)

Beauty’s innate commentary to Society Concepts of beauty can be portrayed in everyday life. Jane Martin’s play entitled Beauty is the perfect example of how society perceives beauty and the subsequent benefits of possessing these unrealistic attributes. ‘Beauty is in the eye of the beholder’, this is a phrase that many may relate to and Jane’s play is a representation of this, making it a commentary to society’s unrealistic views of beauty. An in depth look, at how society’s perceptions of beauty affects not only those who measure themselves up to these standards but also those who fit into the mold themselves and this will be the aim of this essay.

Beauty and sadness are also similar in the way they are recognized. Beauty, which is outside or inside has always developed and changed in the different time with different people. If the love of Gatsby for Daisy in the classis masterpiece “The Great Gatsby” used to be commented that was illusive and stupid. Then now, there are more and more people agree that it is beautiful as a lofty devotion of fidelity and intension. Clearly, standards of a beautiful love is dissimilar between the people in Gatsby’s age and people in later years. In the same fashion, standards of sadness has never “stood still” and depended enormously on its “audiences.” If most of people in the 1900s thought of the movie “Titanic” that is sad only for the tragic love of

In the Poetics, Aristotle provides an outline of how the artist is to portray or represent the perfect Tragedy. A Tragedy, of course, was nothing more than a drama, in which the characters appeared "better" than in real life (in a comedy, they appeared "worse," according to Aristotle). Aristotle's Poetics makes several references to other dramatic works to illustrate his points, but he most commonly calls upon The Odyssey to support his argument for how a dramatic structure should be designed. However, along with the Odyssey, Aristotle extensively references Sophocles' Oedipus Rex. Both poetic works were enormously popular in their time (the former had been passed down orally for generations, and the latter won the top prizes at the dramatic festivals). Therefore, Aristotle is comfortable using both to support his viewpoint concerning Tragedy and the Tragic Hero. This paper will analyze the standards that Aristotle sets out concerning the definition of the Tragic Hero and show how Sophocles' Oedipus exemplifies Aristotle's definition of a Tragic Hero.

ABSTRACT: In moving away from the objective, property-based theories of earlier periods to a subject-based aesthetic, Kant did not intend to give up the idea that judgments of beauty are universalizable. Accordingly, the "Deduction of Judgments of Taste" (KU, § 38) aims to show how reflective aesthetic judgments can be "imputed" a priori to all human subjects. The Deduction is not successful: Kant manages only to justify the imputation of the same form of aesthetic experience to everyone; he does not show that this experience will universally occur in response to the same objects. This is what I call Kant’s Problem of Particularity. After critiquing Anthony Savile’s attempt to

Thesis: Many may find that the essence of beauty is primarily focused on what you look like, rather than what is deep within. It is an evil first instinct we all possess. Ugliness; however, is more than just what a person looks like. A person could be visually appealing, yet have evil intentions deep within. Likewise, a person could be deemed as ugly purely based on what they look like, but within they could have the most beautiful heart.

Plotinus strengthens his argument by asking where knowledge and virtue, two beautiful things, were to fit into the common Greek aesthetic. Knowledge and virtue cannot be of good proportion yet we still consider these beautiful, do we not (Plotinus

The paper starts with multiple definitions of what beauty is defined as and moves to what the experience of beauty is.

The quest for the ideal is a phenomenon that many people attempt to achieve. As we all know, the quest for the ideal is difficult and complicated by personal experience. The poems, “The Story” by Karen Connelly and the “The Love Song of J.Aflred Prufrock”, by T.S Elliot, as well as the essay “Kant’s Beauty and the Sublime” by Maureen Rousseau explore the peril inherent in the quest for the ideal, which is that in our search for beauty we risk encountering the sublime. The danger of the sublime is that we cannot comprehend the magnitude of the realms of things that are sublime. We ask ourselves why someone would want to risk encountering the sublime. Well, with great risk comes great reward and that is the beauty we

In the various discussions of imitative art there has been a notable disagreement between two distinguished philosophers; Plato and Aristotle. Although it was Plato who first discussed the concept of imitative art, it is my belief that Aristotle was justified in his praise and admiration of imitative art, specifically, the tragic drama. In my discussion on the two philosophers’ dissertations I will begin with the ideas of Plato and his position and requirements for imitative art and its respected uses, after which I will discuss the ideas of Aristotle to show that the tragic

For centuries the human race has struggled and grappled with the definition of the word beautiful. After all, what constitutes as being beautiful? In the simplest of forms, beauty could be defined as an existence that is aesthetically pleasing to the mind and the senses. However, some consider beauty to be more complex than just an object that is pleasing. This conversation is made more complicated when one considers the existence of unconventional beauty, or things that would not normally be considered beautiful. The reality is, that due to the fact that each person may regard beauty different depending on their taste in art, film and music, the definition is subject to change, on a case by case basis. Art that invokes feelings of contentment or glee is not resolutely the only things that can be seen as pleasurable. There is also perceived beauty in art that arouses feelings of melancholy, misery and desolation.

Aristotle was a famous disciple of Plato who first defines fine arts and he differs with his teacher Plato in his book of Poetic. His Poetic deals with the principles of Poetic art in general and tragedy in particular on the basis of his analysis and the principles of his Poetic are Probability, Catharsis, Mimesis, Tragic Hero and Hamartia. This essay will explain tragedy looking through Aristotle’s tragic principles in the book Things fall Apart by Chinua Achebe.