The 1st of its type, A significant other to historic Aesthetics provides a synoptic view of the humanities, which crosses conventional limitations and explores the classy event of the ancients throughout quite a number media-oral, aural, visible, and literary.
• Investigates the numerous ways that the humanities have been skilled and conceptualized within the historical international
• Explores the cultured adventure of the ancients throughout a variety of media, treating literary, oral, aural, and visible arts jointly in one quantity
• offers an built-in point of view at the significant issues of historical aesthetics which demanding situations conventional demarcations
• increases questions about the similarities and adjustments among old and sleek methods of puzzling over where of artwork in society
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Extra resources for A Companion to Ancient Aesthetics (Blackwell Companions to the Ancient World)
Contempt can, of course, go horribly wrong and be directed toward those who don’t merit it, harbored for the wrong reasons, or maintained for too long, and so on. But rather than dismiss contempt tout court, we should carefully consider the conditions under which it does and does not have value. that is unfitting in terms of its size is excessive or muted. An emotion that is unfitting in terms of its shape presents its target as having qualities that the target does not, in fact, have. 15 HARD FEELINGS Why is it that contemporary moral theorists have written so little about contempt?
14 Instead of distinguishing between emotions, James thought that psychologists ought to focus on the general causes of emotion types. James was wrong to think that providing detailed accounts of specific emotions is pointless. While there is much that emotions have in common, an adequate moral psychology will take seriously the differences between emotions. We have good reason to reject a theory of emotion that cannot recognize contempt as a unique emotion distinct from its neighbors. Different emotions within the same general family do very different things, and an adequate moral psychology ought to be more, not less, fine-grained.
In many instances, targets of contempt may not have done anything to open themselves up to being contemned; instead, they are simply seen as low. A racist may hold people of color in contempt, not because of anything the targets have done or anything he thinks they have done, but simply in virtue of their race. 42 This helps to explain the difference between contempt and resentment: resentment is a response to a perceived wrong done, and contempt is a response to a perceived failure to meet some standard.
A Companion to Ancient Aesthetics (Blackwell Companions to the Ancient World)