By Dietrich von Hildebrand, Robert E. Wood, John F. Crosby, Dana Gioia
Foreword through Dana Gioia, Preface by means of Robert E. wooden, creation via John F. Crosby.
Dietrich von Hildebrand understood the centrality of attractiveness now not basically to artwork yet to philosophy, theology, and ethics. In his bold and accomplished Aesthetics, now translated into English for the 1st time, Hildebrand rehabilitates the concept that of good looks as an aim quite and only subjective phenomenon. His systematic account renews the Classical and Christian imaginative and prescient of good looks as a competent mode of notion that leads humanity towards the real, the great, and finally the divine. there is not any extra vital factor in our culture--sacred or secular--than the recovery of attractiveness. and there's no greater position to begin this pressing firm than Dietrich von Hildebrand's Aesthetics. - Dana Gioia | From the Foreword
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Extra resources for Aesthetics
Are these not unambiguous symptoms of unhappiness, of an unfulfilled hunger for happiness? Why, for example, are the people in Spain so much happier than the people in the United States, although they are much poorer and their life is much less comfortable? They sing while they work, they adorn their simple houses with flowers, and their faces have a happy expression, especially in Andalusia. They are joyful as they gather on the street in the evening, and one cannot fail to see their delight in life and their vitality.
But he had shown from a very early age an unusual religious sensibility. When Scheler spoke to Hildebrand about the phenomenon of personal holiness as lived by the Christian saints, he encountered a great receptivity in the young Hildebrand. But Hildebrand was different from other Catholic converts of the time, like Jacques Maritain, in that he felt no need to remake himself into a Thomist. He remained entirely faithful to his phenomenological roots, and in fact much of his work in ethics is conducted in debate with Thomistic philosophy.
Hildebrand’s general assessment of critics is not too favorable. According to him, too many follow current fashion and have an insufficiently developed appreciation of the full range of the art-form about which they write. What that presupposes in him is a sufficiently developed sensibility capable of discerning those incapacities. This is especially true in music. His appreciation is very broad and tied in with a strong sense of individual works. He exhibits an extraordinary capacity to pay attention to all the aspects of a given work, assess its hills and valleys, and compare it with others.
Aesthetics by Dietrich von Hildebrand, Robert E. Wood, John F. Crosby, Dana Gioia