The Aesthetic Point of View Essay Example

The Aesthetic Point of View Essay Example The Aesthetic Point of View Paper The Aesthetic Point of View Paper The quest to substantiate aesthetics assessment has given birth to many philosophies in this field. This attempt has been dissected into multiple criteria such aesthetic concepts, aesthetic enjoyment, aesthetic experience, aesthetic value, etc. According to Beardsley, multiple points of view represent different value centered subjectivity. Beardsley with his flair in being open to including constructive criticism poses questions to his own definitions concerning the capacity-definition and he draws three problems with specific adjustments; the problem of falsification, the problem of illusion and the problem of devaluation. The problem of falsification leaves room for negative judgments to capitalize not absence of little value but great value in a work of proposed art. His vivid example of being under the influence of an intoxicated substance could alter the correct way of experiencing a work of art makes the point clear. ‘’But how can we explain the lowering of an aesthetic evaluation and still maintain that these evaluations are capacity-judgments? ’ asked Beardsley. This quotation refers to mood of critical thinking in his passages. The problem of devaluation captures the shift in ‘our value grades’ that is largely caused by enlargement of our experiences. So this ‘belated recognition’ opens an internalized evaluation of the grades and understanding of it. The Aesthetic Value ‘‘The aesthetic value of an object is the value it possesses in virtue of its capacity to provide aesthetic gratification when correctly and completely experienced’’ It can be said that in judging the value of a painting, a poem, a composition, a drama or a building the observer needs to comprehend and include that aspect of its quality (with which we judge it) which is due to its capacity to provide aesthetic enjoyment. It is interesting to observe how the definitions of ‘value’, ‘capacity’ and ‘aesthetic gratification’ pull in more observations given through out the text. But after the definitions, the subjectivity of the considerations rejected or accepted when certain judgments are formulated bring us to his next nexus of suggestions. Beardsley writes, ‘’A consideration about an object is relevant to the aesthetic point of view if and only if it is a aesthetic gratification ( formal unity and intensity of regional quality) are present in the object’’. So his examples of a painting being landscape painting being relevant to a judgment marginally contributes to the pre-conditions surrounding the painting like possibly sexual orientation of the painter, writer or composer. The suggestion that the judgment should be exclusive of the subject of the creation gives rise to how historical, cultural aspects of judgment makes subjectivity of the art work stronger. To take an aesthetic point of view requires more than appreciating the skills and interjects the recognition and perceptions. When the question of justification for adopting a certain aesthetic point of view is there, the conflicts with other equally able aesthetics arises. So according to Beardsley the modern approach to broaden the range of adoption by ‘increasing the amount of aesthetic value of which we can take advantage’. This brings us to the observational point of the central task in aesthetic education. He states that this is where there is a rift and observers torn between conflicting ways of redirecting taste. The argument against broadening the amount of aesthetic value tries to incorporate everything as ‘expressive and symbolic’ and the other being the way of love of beauty which he has mentioned is reformist by implication since it seeks a world that conforms to its ideal. But Beardsley’s understanding in how confrontation with these issues does not generate the scope for defining the possibilities and limitations of the aesthetic point of view leaves margins for more contemplation. His conclusion suggest that the conflict of values and the values used for the aesthetic point of view sometimes terminate adopting only one. And his most noble suggestion has been ’To adopt the aesthetic point of view is simply to seek out a source of value. ’ Conclusion The most interesting aspect in reading and trying to evaluate Monroe C. Beardsley’s proposals has been in his expansive adaptation to developments in the philosophical ideas given birth by criticism or change in new aspects of the art world absent from his original philosophy. There might have been absence of elements of feminism, fad fashion, movements but this so-called New criticism that he is supposedly underwriting does respect the art criticism in a positive light. References The journal of Aesthetics and Art criticism, Volume 63, Issue 2 ( p 175- 178) Quotes from, The Aesthetic Point of View Monroe C. Beardsley 1982.

Definition and Examples of Parallelism in Grammar

Definition and Examples of Parallelism in Grammar In English  grammar, parallelism is the similarity of structure in a pair or series of related words, phrases, or clauses. Also called parallel structure, paired construction, and  isocolon. By convention, items in a series appear in parallel grammatical form: a noun is listed with other nouns, an -ing form with other -ing forms, and so on. Kirszner and Mandell point out that parallelism adds unity, balance, and coherence to your writing. Effective parallelism makes sentences easy to follow and emphasizes relationships among equivalent ideas (The Concise Wadsworth Handbook,  2014). In traditional grammar, failure to arrange related items in parallel grammatical form is called faulty parallelism.   Etymology From the Greek, beside one another Examples and Observations Buy a bucket of chicken and have a barrel of fun.(Slogan of Kentucky Fried Chicken)How vain it is to sit down to write when you have not stood up to live!(Henry David Thoreau, A Year in Thoreaus Journal: 1851)The loss we felt was not the loss of ham but the loss of pig.(E. B. White, Death of a Pig. The Atlantic, January 1948)When you are right you cannot be too radical; when you are wrong, you cannot be too conservative.(Martin Luther King, Jr., Why We Cant Wait. Signet, 1964)Immature poets imitate; mature poets steal.(T.S. Eliot, Philip Massinger, 1920)It took a man like Madiba to free not just the prisoner, but the jailer as well; to show that you must trust others so that they may trust you; to teach that reconciliation is not a matter of ignoring a cruel past, but a means of confronting it with inclusion and generosity and truth. He changed laws, but he also changed hearts.(President Barack Obama, speech at the memorial service for former South African president Nelson Mandela, D ecember 10, 2013) After a few miles, we drove off a cliff.It wasn’t a big cliff. It was only about four feet high. But it was enough to blow out the front tire, knock off the back bumper, break Dad’s glasses, make Aunt Edythe spit out her false teeth, spill a jug of Kool-Aid, bump Missy’s head, spread the Auto Bingo pieces all over, and make Mark do number two.(John Hughes, Vacation 58. National Lampoon, 1980)New roads; new ruts.(Attributed to G. K. Chesterton)Hes quite a man with the girls. They say hes closed the eyes of many a man and opened the eyes of many a woman.(Telegraph operator to Penny Worth in Angel and the Badman, 1947)They are laughing at me, not with me.(Bart Simpson, The Simpsons)Voltaire could both lick boots and put the boot in. He was at once opportunist and courageous, cunning and sincere. He managed, with disconcerting ease, to reconcile love of freedom with love of hours.(Attributed to Dominique Eddà ©)Truth is not a diet but a condiment.(Attributed to Chri stopher Morley) Some of the people said that the elephant had gone in one direction, some said that he had gone in another, some professed not even to have heard of any elephant.(George Orwell, Shooting An Elephant. New Writing, 1936)Our transportation crisis will be solved by a bigger plane or a wider road, mental illness with a pill, poverty with a law, slums with a bulldozer, urban conflict with a gas, racism with a goodwill gesture.(Philip Slater,  The Pursuit of Loneliness. Houghton Mifflin, 1971)Unlike novelists and playwrights, who lurk behind the scenes while distracting our attention with the puppet show of imaginary characters, unlike scholars and journalists, who quote the opinions of others and shelter behind the hedges of neutrality, the essayist has nowhere to hide.(Scott Russell Sanders, The Singular First Person. The Sewanee Review, Fall 1998)O well for the fishermans boy,That he shouts with his sister at play!O well for the sailor lad,That he sings in his boat on the bay!(Alfred L ord Tennyson, Break, Break, Break, 1842) [Todays students] can put dope in their veins or hope in their brains. . . . If they can conceive it and believe it, they can achieve it. They must know it is not their aptitude but their attitude that will determine their altitude.(Rev. Jesse Jackson, quoted by Ashton Applewhite et al. in And I Quote, rev. ed. Thomas Dunne, 2003) Effects Created by Parallelism [T]he value of parallel structure goes beyond aesthetics. . . . It points up the structure of the sentence, showing readers what goes with what and keeping them on the right track.(Claire K. Cook, Line by Line. Houghton Mifflin, 1985) Several studies have shown that in conjoined structures, even without ellipsis, parallelism of many types is helpful to the processor,  in that the second conjunct is easier  to process if it is parallel to the first in some way . . ..(Katy Carlson,  Parallelism and Prosody in the Processing of Ellipsis Sentences.  Routledge, 2002) Parallelism has the potential to create rhythm, emphasis, and drama as it clearly presents ideas or action. Consider this long, graceful (and witty) sentence that begins a magazine article on sneakers: A long time ago- before sneaker companies had the marketing clout to spend millions of dollars sponsoring telecasts of the Super Bowl; before street gangs identified themselves by the color of their Adidas; before North Carolina States basketball players found they could raise a little extra cash by selling the freebie Nikes off their feet; and before a sneakers very sole had been gelatinized, Energaired, Hexalited, torsioned and injected with pressurized gas- sneakers were, well, sneakers.[E.M. Swift, Farewell, My Lovely. Sports Illustrated, February 19, 1990] First note the obvious parallelism of four clauses beginning with the word before and proceeding with similar grammatical patterns. Then note the parallel list of sneaker attributes: gelatinized, Energaired and so on. This is writing with pizzazz. It moves. It almost makes you interested in sneakers! Of course you noticed the nice bit of word play- the sneakers very sole.(Lauren Kessler and Duncan McDonald, When Words Collide: A Media Writers Guide to Grammar and Style, 7th ed. Thomson Learning, 2008) Pronunciation: PAR-a-lell-izm