Aesthetics

tension between the idea that “beauty is in the eye of the beholder” and the reality of the way we as humans judge art. Kant called this specific tension “the antinomy of taste”, which he used as a jumping off point to develop a complex system of aesthetic judgment. However, an interesting solution was proposed by David Hume. Suppose people did disagree on whether E. L. James or William Shakespeare is a better writer. What would one do? Hume proposed that people should do the same thing they’ve always

Stephen Dedalus is a creature obsessed. He hunts and prowls to find one true meaning to the world through artistic beauty, to find truth through an aesthetic. He finds a way to balance intellectuality and art with his set of philosophical principals called an aesthetic. Stephen Dedalus, the central character, acts as an alternate reflection of the author in this semi-autobiographical fiction A Portrait of the Artist as a Young Man by James Joyce. Joyce primarily uses the early development of Stephen

where in the mathematical aesthetical comprehension are not a consciousness of a mere more preponderant unit, but the notion of absolute greatness not inhibited with conceptions of constraints. The dynamically sublime is nature considered in an aesthetic judgment as might that has no ascendancy over us and an object can engender a fearfulness without

Specifically, he notes if the similar work is well done and has aesthetic value. Essentially he argues that forgeries do not indeed lose any aesthetic value, because they are in fact well-crafted and executed but rather, compromise the nonaesthetic standard of judgment (92). The piece of art, regardless of its quality, loses its extrinsic value. It is no longer

true because people use biased opinions about art that are known to the world today; one criteria is aesthetic beauty and the exclusion of this criteria for art is art that is ugly. The category for this criteria is intended for the audience to view and see if they think the art is beautiful. Art is something that is interpreted by people so the audience decides whether or not the art is of aesthetic beauty, not the art itself. The other criteria is the amount of effort put into this piece. An exclusion

a symbolic meaning. Some film’s can be categorized into two types, which are realistic and formalistic aesthetics. For instance, the film Pony Excess is a realist aesthetic film that proclaims the actuality of a film, while the formalist aesthetic film, Friday Night Lights, focuses on the persuasion of emotions. In the film’s Pony Excess and Friday Night Lights, realist and formalist aesthetics are conveyed through the fundamentals of a film, which are collision sound, fast and slow motion, real

Annotated Bibliography Munro, T. (1969). Art and Violence. The Journal of Aesthetics and Art Criticism, 27(3), 317-322. doi:10.2307/428677 This article from the Journal of Aesthetics and Art Criticism describes the controversy surrounding violent art and the effect it has on people who view them. The author points out that skepticism of brutal art has gone back to the time of the ancient Greeks, so the debate surrounding violence in art is nothing new. However, he feels that it is futile to protest

Writer Seamus Heaney was born in County Derry, Northern Ireland, 1939. The beginnings of the Second World War therefore aligned with his upbringing and he was witness to conflict from a young age. In addition, Northern Ireland was a divided country which saw disunity within between protestants and catholics but also unionists and loyalists, with unionists calling for independence against British rule. Requiem for the Croppies is a poem published in Death of a Naturalist (1966) which primarily deals

I am sure that we have all, at one time or another, noticed that almost any discussion concerning the merits and demerits of art, if it goes on long enough will come to the qualities of innovation and traditionalism in regards to aesthetic value. As soon as these two qualities are mentioned, there comes an inevitable forming up of those who favor innovation and deride tradition and those who favor tradition and deride innovation. Either side usually admits only enough merit to their opposition, and

Although his claim may be true in certain instances, I ultimately disagree with his claim because form, understanding, experiences, the time period, and current events surrounding and affecting the audience all have an effect on the reason for aesthetic and moral defectiveness of a piece. Carroll’s claim is made within the context of describing moderate autonomism and what moderate autonomists believe. Carroll agrees with part of their argument but is not completely