The Aesthetics of Sympathy: George Eliot’s Telepathy Machine from Phantom Formations: Aesthetic Ideology and the "Bildungsroman" on JSTOR

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For the past 25 years, George Dicky is one of the most innovative, influential controversial art philosophers. Dickey's debate on various aesthetic theories, aesthetic concepts, and aesthetic experiences stagnates classical aesthetical theory in fact. His institutional art theory is the most widely discussed proposal in the aesthetics of the 1970s and the 1980s, and a proponent who creates a theoretical change and a passionate critic who believes that the theory is completely wrong stimulate. Dicky also writes many articles about the history of aesthetics, and his work is also one of the best examples of analytical aesthetics.

Through Walton's article, the natural aesthetics I am exemplifying here can also be seen as a natural result of an institutional analysis of George Dicky's aesthetic objects (not art). See Chapter 7 and Chapter 8 of Art and Aesthetics: Institutional Analysis (Cornell University Press, 1974), especially chapter 7. 169 and pp. 198-200. I do not think that Dickie's analysis clearly supports a relativistic position for natural aesthetic judgment. But he made some comments. Example: "In places where natural visual aesthetics are involved, we can be satisfied to evaluate visual designs that are" fused "by chance (p. 169). Despite these comments, it is clear from the conclusion.

In recent analytical aesthetics, aesthetic judgment has two distinct problems. One is how to distinguish between aesthetic judgment and other judgment. It is particularly urgent to answer this question if aesthetic judgment and non-aesthetic judgment about the same thing conflict. In this case, things may be judged to have aesthetic value, but it may be judged as a moral or practical negative judgment. The inevitable question is whether negative values ​​of non-aesthetic judgment will affect the so-called pure aesthetic judgment.

The theory of natural aesthetics includes three descriptive terms: aesthetic expression, aesthetic form and aesthetic concept. My latest version of Kant's aesthetic thinking theory is that the ideas related to aesthetic judgment are universal, even though the hints and other fragments experienced by these thoughts may reflect the personal experience of each individual Indicates that there is. This description shows the dynamic nature of the aesthetic form. The aesthetic shape is not the same as the visual shape, melody, or movement. It is comparable to any imagination match expressing an aesthetic idea. By harmonizing the characteristics of aesthetic appreciation, they are aware of the true judgment (objectivity, universality, normality, etc.) and aesthetic experience characteristics (such as aesthetic, subjective, expressive, etc.) I feel. I suggest the evolution theory and derive the concept of aesthetic judgment