Introduction. Examination of terms used in aesthetics. Discussion of the aims of philosophy in general, and of aesthetics in particular, Its Meaning, Purpose and Scope.

The Greeks, especially in the context of Sixth Century Athens. Plato and Aristotle on beauty. What is the role of “imitation” in the arts–that is, what exactly does art “imitate”? Is it nature itself? Or the “spirit” within nature? Is it the artist’s own mind or impressions? What did Aristotle mean by “catharsis”? Why did Plato want to dismiss poets and artists from his Utopian community? Why did Plato think that the artist was subversive? Well, are the arts subversive, perhaps even intrinsically so? What comparisons can we make between Plato and Aristotle conceptions?

Conceptions of beauty in the Renaissance, The rise of Humanism and its implications for aesthetic theory of Leonardo Da Vinci, Alberti, Albert Durer, General Trends and characteristics with reference to the developments in Literature, Sculpture, Painting, Music 

Immanuel Kant and the Origin of a Science of Aesthetics. Background of the Kantian philosophy. Kant makes the notion of aesthetics central to his philosophy — why? An overview will be presented of Kant’s third critique, the Critique of [Aesthetic] Judgement.

European Romanticism and the deification of the artist/composer/poet. Can the arts fill the void left by the receding of religion? How important, comparatively, is “creative” thinking as against logical thinking? The Romantic view of “imagination” and the moral importance of the arts

Art for Art’s Sake, or “Formalism.” Is art after all the “supreme” good? Is music the “supreme” expression of art? What is the relationship between what is beautiful and what is useful–that is, can or should the arts be “cut loose” from practical considerations? Here, Oscar Wilde is the focus, along with John Ruskin and William Morris. The art of Turner and Whistler will be examined.