ON THE BEAUTIFUL AND THE UGLY

Autores

  • Herman Parret

DOI:

https://doi.org/10.1590/S0101-31732011000400003

Palavras-chave:

Formlessness, The abject, Formalism.

Resumo

Classical aesthetics sees the experience of the beautiful as an anthropological necessity. But, in fact, the beautiful is rather the central category designating classical art, and one can question the relevance of this category considering contemporary art. The reference term most frequently used for contemporary art is interesting: works of art solicit the interests of my faculties (the cognitiveintellectual, the pragmatic community-oriented moral, the affective aesthetic faculties). It is interesting to notice that the categories of the beautiful and the ugly have an axiological-moral value. It looks as if the qualities of contemporary art works are judged according to the intensity of the impact on the interests of our faculties. It reveals important, in this respect, to distinguish the ugly from the sublime and the monstrous. Kant’s Third Critique is of some importance in defi ning these categories.

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Publicado

2011-08-18

Como Citar

Parret, H. (2011). ON THE BEAUTIFUL AND THE UGLY. TRANS/FORM/AÇÃO: Revista De Filosofia, 34(5). https://doi.org/10.1590/S0101-31732011000400003

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