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By Paul Smith, Carolyn Wilde

The significant other offers an obtainable serious survey of Western visible artwork idea from assets in Classical, Medieval and Renaissance suggestion via to modern writings.

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Extra resources for A Companion to Art Theory

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Hubbell, Loeb Classical Library, pp. 8–10, trans. by G. L. Hendrickson and H. M. Hubbell, Loeb Classical Library, p. 311 Horace (1966) Ars poetica 1–37, trans. by H. Rushton Fairclough, Loeb Classical Library, pp. 7, trans. by Wladyslaw Tatarkiewicz, in History of Aesthetics, vol. 1, Ancient Aesthetics, Mouton, pp. 302, 305 Philo of Alexandria (1970) De opificio mundi 4, trans. by Wladyslaw Tatarkiewicz, in History of Aesthetics, vol. 1, Ancient Aesthetics, Mouton, p. 22, trans. by F. C. Conybeare, Loeb Classical Library, pp.

By O. J. Todd, Loeb Classical Library, p. 421 Further reading Else, Gerald F. (1957) Aristotle’s Poetics: The Argument, Harvard Else, Gerald F. (1958) ‘ “Imitation” in the fifth century’ Classical Philology 53 pp. 73–90 Halliwell, Stephen (1986) Aristotle’s Poetics, Duckworth Kristeller, Paul Oscar (1965) ‘The modern system of the arts’, in Renaissance Thought II: Papers on Humanism and the Arts, Harper Torchbooks, pp. 163–227 Pollitt, J. J. (1974) The Ancient View of Greek Art: Criticism, History, and Terminology, Yale University Press Schweitzer, B.

E. ‘man-made dreams for those who are awake’ in Plato’s formulation. Finally, these man-made dreams can be used in many different ways, for many different purposes and under vastly different circumstances. They appear in religious contexts, they can be used in political propaganda, they serve as entertainment, as educational tools and as pornography. To use them as works of art is a cultural tradition and behaviour with its roots in antiquity and in the theory of mimesis but not developed as a social institution of its own until the eighteenth century.

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