Comparison Between Plato´s Allegory and Today´s Time Can you imagine the relationship between old works of philosophers and today’s world? Could you imagine how it would be if you discovered that the world you think you live in is not exactly what you think? Or the things you see are not exactly what you see? The Allegory of the Cave by Plato represents an extended metaphor; a figure of speech in which a phrase is applied to something to which it is not literally applicable in order to suggest
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One of the dominant motifs of the "Situation" section‚ is the concept of the "new" (see also‚ the modern) and its relationship to the situation of art. This concept and its dialectical...complications/implications is absolutely fundamental to Adorno’s philosophy in general‚ especially in relation to a motif of failed (or aborted) revolutions and their relation to what Adorno occasionally refers to as the aging of modernity. Whither Adorno’s account of the "resistance to the new”? For him‚ any and
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PARRHESIA NUMBER 1 • 2006 • 1 – 12 Thinking between disciplines: an aesthetics of knowledge1 Jacques Rancière Translated by Jon Roffe What should be understood by the invocation of an ‘aesthetics of knowledge’? It is clearly not a matter of saying that the forms of knowledge must take on an aesthetic dimension. The expression presupposes that such a dimension does not have to be added as a supplementary ornament‚ that it is there in every sense as an immanent given of knowledge. It
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Spirit pg. 99). The Greco-Roman style influenced many people specifically philosophers‚ pushed them to create theories that would explain‚ measure and declare what was art. Amongst these men we encounter the famous philosopher Plato and his ideal aesthetic when developing art. Plato theorized on the skill and knowledge behind making a piece‚ the advantages and disadvantages of mimiquing art‚ and the whereabouts of artistic inspiration. When looking at Plato’s theories in comparison to the modern person
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Representationalism and Aesthetics If one were to be provided a spectator’s view of visitors of an art museum‚ they would witness a microcosm of the appreciation of art in its entirety. Some observers of art might simply glance at a piece of artwork and shrug it off for its unaesthetic appearance‚ others might try to delve deeper into what it’s standing for. Multiple factors would possibly come into play; the audiences’ reaction‚ the inquisition into the artist’s original intention‚ and perhaps
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The Unique Aesthetics of Allan Poe’s Horror Tales Abstract: My study is aiming at an approach to Poe’s horror tales dealing with his unique aesthetics. The paper is devoted to give a detailed analysis of some of Poe’s most famous horror tales in three aspects: Gothic Writing Style‚ Vivid Psychological Description‚ and Death of Beauty. Keyword: Aesthetics‚ Gothicism‚ Psychology‚ Death of Beauty Chapter One Introduction of Poe’s Aesthetics Edgar Allan Poe (1809-1849) has been held among the greatest
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Art and Aesthetics at Work Edited by Adrian Carr and Philip Hancock Art and Aesthetics at Work This page intentionally left blank Art and Aesthetics at Work Edited by Adrian Carr University of Western Sydney and Philip Hancock University of Warwick Editorial matter‚ selection and Chapters 1‚ 5 and 9 © Adrian Carr and Philip Hancock 2003 Other chapters (in order) © Adrian Carr; George Cairns and Tamar Jeffers; Mary-Ellen Boyle; Catrina Alferoff and David Knights; Nick
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Biography of Plato. Plato was a Greek philosopher‚ mathematician‚ rhetorician‚ writer‚ founder of Academy‚ and even a double Olympic champion. He was born in 427 BCE in family of wealthy and influential Athenian parents: Ariston and Perictione. Plato ’s real name was Aristocles. For his athletic figure his wrestling coach called him Plato‚ which means “broad”. As Plato was from a wealthy family‚ he got the best teachers of that time‚ who taught him music‚ grammar and athletics. At the age
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“The Allegory of the Cave” Excerpt from Plato‚ The Republic‚ Book VII‚ 514A1-518D8‚ Socrates and Glaucon are conversing: SOCRATES: “Next‚” said I “compare our nature in respect of education and its lack to such an experience as this. Picture men dwelling in a sort of subterranean cavern with a long entrance open to the light on its entire width. Conceive them as having their legs and necks fettered from childhood‚ so that they remain in the same spot‚ able to look forward only‚ and prevented by
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10. Aesthetic Value I have found it impossible (though not for want of trying) to find a way of avoiding commitment to a concept of aesthetic value. The general theory of value remains in an unsatisfactory state; and aesthetic value in particular presents various unsettled questions. But‚ as in the first edition‚ I find myself always driven back to the idea that in calling an artwork a good one -- or a good poem or good choreography -- we must be ascribing some form of (nonmoral) value to it‚ and
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