Argument from beauty

A Woman’s Beauty: Put-Down or Power Source? Susan Sontag, a jewish-american writer, argues about how the external beauty influences the inner beauty. She starts giving a paradoxical and accurate example of Socrates, where she said that he was everything but beautiful and for the Greeks it was kind of contradictory because they had always thought that the inside beauty would be compatible with some other kind of beauty. According to the writer, people were used to say that a woman was beautiful depending

aesthetics, the ideas of beauty and sublimity have been argued to be objective or subjective by several authors, two of whom are Immanuel Kant and Edmund Burke. Kant aligns himself with the idea that beauty and sublimity are subjective ideas (while still granting the sublime particular qualities) with universal judgements, whereas Burke thinks that the beautiful and sublime are objective, each consisting of particular and opposing qualities. I will argue that Burke is correct in that beauty and sublimity are

I believe my argument reflects the idea of deep beauty from the points my argument gives. In the podcast one of the speakers was talking about how when he said something was beautiful he tells people because he wants them to see the beauty in it like he does. I believe beauty in some cases cannot be blatantly seen, sometimes beauty is quiet and discreet making someone have to search and think more on why something can be beautiful. Beauty is much more than a glimpse at an object that is visually

simple yes/but argument. The fact that semicolons are used in the quatrains indicates that the speaker tries to create an image of his mistress without taking a breath. The images all relate to each other in how they convey her looks and emphasize how Shakespeare feels about her. Also by continuously trying to create this image of her he creates a “yes” argument: yes, her hair is wiry, yes, her cheeks are wan, and yes, her eyes are dull, among other comparisons. The couplet ties the argument together by

equal in beauty to God’s creation of nature. Hegel constructs an argument explaining, “Here the ordinary way of looking at things took easily to the notion that the human art-product ranked below the product of nature; for the work of art has no feeling in itself and is not through and through enlivened, but, regarded as an external object is dead; but we are accustomed to value the living higher than the dead.” (Hegel, 638). Hegel conveys how art products of humans are in lower beauty than nature

is to compare the liveliness and spirits of the sea to the spectacle of life. Rachel Carson examines the beauty of the sea and suggests that the sea’s allure has been neglected. She gives the reader the idea of the real beauty by making the connection to the life under the sea; fish, crabs, tides and so on. She believes that this kind

Though it does follow that opposite qualities are connected by processes that allow the movement from one end to the other. Opposites generate opposites such as what was prior to what is now; as from lighter to darker, from Shorter to taller, and for Socrates from life to death. Although Socrates logic on opposites seems reasonable I believe he sees it as a cladogram. Just because it’s light now is that the cause for it to be dark

Deborah Tannen and Susan Sontag tackle issues of (women’s beauty expectations) in their respective articles “Marked Women” and “A Woman’s Beauty: Put Down or Power Source?” Scott Sanders and Warren Farrell, on the other hand, discuss the issues that men face in society. While each argument has some merit to it, ultimately the women’s discussion is most imperative and applicable to what is actually happening everyday. The article “Marked Women” from the New York Times by Deborah Tannen,

phrase “as a result” acts as a turning point in the logical sequence where people will start to observe beauty in practices (48). Before that phrase, Diotima illustrates the process of reaching the best interpersonal love inside the broader perspective of approaching the highest form of love. After that phrase, Diotima moves from interpersonal love to philosophical love, which is also the shifting from common love to heavenly love. By indicating philosophical love is superior to interpersonal love, Socrates

attracted properties of art and beauty lies within our feeling and emotions. In his account, he explained that even though a higher or more abstract ideas of beauty can be found, the fundamental principles we used to judge the quality of the art is not purely intellectual but, rather, the desires plays as a part of the appreciation. He emphasized that the beauty of the artwork provokes individuals to possess in a way that we want to know more about the painting whether from our lust or other forms of