University of Alabama Press, 1975 Paper: 978-0-8173-6623-0 | eISBN: 978-0-8173-8976-5
ABOUT THIS BOOK | REVIEWS | TOC
ABOUT THIS BOOK
Seeks to bring present-day philosophy principles into the history of aesthetics
Before the publication of Aesthetics from Classical Greece to the Present there were three histories of aesthetics in English—Bosanquet's pioneering work, the second part of Croce's Aesthetic in the Ainsle translation, and the comprehensive volume by Gilbert and Kuhn. While each of these is interesting in its own ways, and together they cover a good deal of ground, none of them is very new. Thus none could take advantage of recent work on many important philosophers and periods and bring into a consideration of the past the best concepts and principles that have been developed by present-day philosophy.
In Aesthetics from Classical Greece to the Present the author seeks to bring these principles to the forefront in exploring the history of aesthetics.
REVIEWS
“Of the histories of aesthetics in English…Beardsley’s book is the best. It is brisk, it is written in a clear plain style, and it is scholarly without being pretentious or overwhelming.
"For those of us who want to know what philosophers have said about beauty and the arts, this book will be especially useful.”—The Philosophical Review
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"The depth of Beardsley's scholarly competence . . . speaks from every page. He makes a masterful analysis of Aristotle’s concepts . . . Then follows his chapter on the Middle Ages, which is outstanding. . . . And so the book goes forward with penetrating analysis and unexpected relevancies.
“Beardsley’s book accomplishes to perfection what the writer intended. It illuminates an area of history from a certain perspective as was never done before. . . . The distinguishing feature of his book is a n excitement over everything I aesthetics that has to do with symbols, meanings, language, and modes of interpretation. And this excitement has brought to light facets of the history f the subject never noticed before, or at least, not so clearly.” —The Journal of Aesthetics and Art Criticism
University of Alabama Press, 1975 Paper: 978-0-8173-6623-0 eISBN: 978-0-8173-8976-5
Seeks to bring present-day philosophy principles into the history of aesthetics
Before the publication of Aesthetics from Classical Greece to the Present there were three histories of aesthetics in English—Bosanquet's pioneering work, the second part of Croce's Aesthetic in the Ainsle translation, and the comprehensive volume by Gilbert and Kuhn. While each of these is interesting in its own ways, and together they cover a good deal of ground, none of them is very new. Thus none could take advantage of recent work on many important philosophers and periods and bring into a consideration of the past the best concepts and principles that have been developed by present-day philosophy.
In Aesthetics from Classical Greece to the Present the author seeks to bring these principles to the forefront in exploring the history of aesthetics.
REVIEWS
“Of the histories of aesthetics in English…Beardsley’s book is the best. It is brisk, it is written in a clear plain style, and it is scholarly without being pretentious or overwhelming.
"For those of us who want to know what philosophers have said about beauty and the arts, this book will be especially useful.”—The Philosophical Review
— -
"The depth of Beardsley's scholarly competence . . . speaks from every page. He makes a masterful analysis of Aristotle’s concepts . . . Then follows his chapter on the Middle Ages, which is outstanding. . . . And so the book goes forward with penetrating analysis and unexpected relevancies.
“Beardsley’s book accomplishes to perfection what the writer intended. It illuminates an area of history from a certain perspective as was never done before. . . . The distinguishing feature of his book is a n excitement over everything I aesthetics that has to do with symbols, meanings, language, and modes of interpretation. And this excitement has brought to light facets of the history f the subject never noticed before, or at least, not so clearly.” —The Journal of Aesthetics and Art Criticism