By Miguel Beistegui
This booklet makes a speciality of a measurement of artwork which the philosophical culture (from Plato to Hegel or even Adorno) has continually missed, such used to be its dedication – specific or implicit – to mimesis and the metaphysics of fact it presupposes. De Beistegui refers to this size, which unfolds outdoors the distance that stretches among the practical and the supersensible – the gap of metaphysics itself – because the hypersensible and exhibit how the operation of artwork to which it corresponds is better defined as metaphorical. The stream of the booklet, then, is from the classical or metaphysical aesthetics of mimesis (Part One) to the aesthetics of the hypersensible and metaphor (Part Two). opposed to a lot of the heritage of aesthetics and the metaphysical discourse on paintings, he argues that the philosophical worth of artwork doesn’t consist in its skill to bridge the gap among the practical and the supersensible, or the picture and the belief, and show the practical as proto-conceptual, yet to open up a special feel of the practical. His objective, then, is to shift the place and role that philosophy attributes to artwork.
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Extra info for Aesthetics After Metaphysics: From Mimesis to Metaphor (Routledge Studies in Contemporary Philosophy)
Aesthetics After Metaphysics: From Mimesis to Metaphor (Routledge Studies in Contemporary Philosophy) by Miguel Beistegui