Aesthetics I by Ramona Cormier, Shannon Dubose, James K. Feibleman, John D.

By Ramona Cormier, Shannon Dubose, James K. Feibleman, John D. Glenn Jr., Harold N. Lee, Marian L. Pauson, Louise N. Roberts, John Sallis (auth.)

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One senses a limiting case in this direction and a dead end. There isn't very much to be seen THE ART OF THE PHILOSOPHY OF ART 31 down that way. Art may die from trying too hard, though this is possible only for a while, for perhaps a generation, say. For there are timeless elements in both science and art, even though the selection is quite different: qualities for art and relations for science. It might be helpful if we were to use an example, otherwise mentioning qualities and relations might not mean anything specific.

The feeling of beauty promises security because its effect is to make the spectator feel that he belongs somehow to the world at its most valuable. The method of art is a variant of the method of inference employed in logical structures. In a first step axioms are established, and this is followed by a drawing of theorems. The axiomatic method may be observed more clearly in those arts which require an interval of time for their complete exposure, such as music, the theatre, or any narrative. Consider for example Kafka's short story "Metamorphosis".

See Reidar Thomte, Kierkegaard's PhilosoPhy 01 Religion (Princeton, 1948), pp. 101-102. I am tempted to believe that Kerkegaard never became completely clear on the relation of humor to irony or to the various "stages" of existence. However, he who finds 52 KIERKEGAARD ON THE UNITY OF COMEDY AND TRAGEDY individual, on the other hand, "out of this unity elects the tragic," chooses the suffering involved in this impossible task. Even here humor seems to playa subordinate role, somewhat similar to the role played by irony in ethical existence, for the truly religious man must be able to laugh a bit, in humility, even at his own attempts to realize the infinite.

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