Art and Analysis: An Essay toward a Theory in Aesthetics by Edward G. Ballard

By Edward G. Ballard

Aesthetics, fledgling of the philosophic brood, is the main suspect of that relations. it really is suspected of the entire philosophical sins: vagueness, sickness, dogmatism, emotionalism, reductionism, compartmentalization. occasionally its adolescence is assumed to be a enough excuse for those divagations. occasionally the very nature of its content material, regarding the waywardness of genius, the remoteness of feeling from mind, the surd of suggestion in even the mildest appreciation, are believed to sentence aes­ thetics irrevocably to the bottom of the civilized man's area. a few philosophers have gloried during this it sounds as if mystical and a-rational caliber and feature visible in it the very nature of the gorgeous; others have come to treat it, particularly, as facts of the unskillfulness of our minds and feature became clear of aesthetic difficulties to the duty of polishing the aesthetician's language and good judgment. The laughter of the gods isn't really tricky to figure during the poetry of the extra mystical aesthetician or in the course of the prose of the analysts. in the meantime the manifold complexities and difficulties of aesthetic event invite our realizing. for cultured event is a gift truth of human existence and should, might be, be understood via males. Such, not less than, stands out as the current assumption. because of this why the name of this booklet mentions artwork including research; for if paintings is intelligible, the murals and the event of it can be analyzed into its sensible parts.

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I think anyone would agree, though, that if an aesthetic object is a symbol, it must be a very special kind of symbol and is responded to in a special manner. The difficulty obviously lies in saying clearly just what is special about these symbols and the responses to them. In order to carry out this program, the first step will be to provide definitions for a few key terms and to illustrate typical occasions of the experience of beauty which, with their help, we are to seek to understand. 1 For example, the list of criteria offered by H.

But they are blunted in order to bring them into a juster relationship with life. Dewey has taken as his realm the twilight zone between theory and experience. Seen in this light his work takes on a proportion and an importance which it might otherwise seem to lack. The peculiar melting of concept into concept, of term into term, evident in his thought and his style, - recalling the blurred outlines of Romantic paintings, - is seen to be not merely a negative protest against something called intellectualism but on the contrary to perform a necessary mediating function in a larger context of which both theory and experience are parts.

J. K. , 1949, p. 256. 46 THE AESTHETIC EXPERIENCE activity. He makes his own rules following only "the logic of the imagination," thereby bringing his work to a perfection which the play of children never achieves. Perhaps if the meaning of the phrase "logic of the imagination" could be made somewhat more explicit, the key to the distinction between child's play and aesthetic play would be found. Francis Fergusson uses a parallel but more restricted version of this same notion in his very excellent book, The Idea 01 a Theater.

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Art and Analysis: An Essay toward a Theory in Aesthetics by Edward G. Ballard
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