By Ramona Cormier, Shannon Dubose, James K. Feibleman, John D. Glenn Jr., Harold N. Lee, Marian L. Pauson, Louise N. Roberts, John Sallis (auth.)
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Extra info for Aesthetics I
Either/Or, I, p. 213) Another means by which the young aesthete seeks to express and maintain his transcendence is laughter: Of all ridiculous things, it seems to me the most ridiculous is to be a busy man of affairs, prompt to meals, and prompt to work. Hence when I see a fly settle down in a crucial moment on the nose of a business man, or see him bespattered by a carriage ... , or a tile from the roof falls down and strikes him dead, then I laugh heartily. And who could help laughing? What do they accomplish, these hustlers?
But what is the precise nature of this transcendence? Is it a purely negative transcendence, a transcendence into nothingness, or does it have some more positive character? 1 Does the unity of the comic and the tragic, then, recur in a somewhat different form in the irony of the ethicist, such as Socrates? And, if so, how is the unity here determined? Quidam, the diarist of Stages on Lite's Way, provides an answer to these questions: If in accordance with one of Plato's interpretations we ingeniously explain Socrates as the unity of the comic and the tragic, it is quite right, but the query remains, Wherein does this unity consist?
In the chapter on Art in Perception and A esthetic Value I made two assumptions that I now reject. Both were uncritically made. The first was that nature is composed of separate or discrete things or events. Without any analysis of what it is 1 Dewey may have been able always to resolve this difference in mood, but he did not always make clear to the rest of us how he did so. 2 H. N. Lee, Perception and Aesthetic Value, New York, 1938; reissued New York, 1967, Chapter IX. 3 This view has been elaborated by George Herbert Mead.
Aesthetics I by Ramona Cormier, Shannon Dubose, James K. Feibleman, John D. Glenn Jr., Harold N. Lee, Marian L. Pauson, Louise N. Roberts, John Sallis (auth.)