his theory of the nature of representation. Chapter VII is concerned with his views on the aesthetics of music, architecture, the artistic uses of language, painting and sculpture. An outline of an analytic theory of poetry is offered in criticism.Ĭhapter VI deals with the presuppositions of the aesthetics of the Life of Reason period, and with Santayana's view of the nature of art as emergent from instinctive action. The subjects reviewed are the classification of forms, the sources of pleasure in form, the nature of form, the nature of expression, tragedy, comedy and the sublime.Ĭhapter V is concerned with Santayana's views on the nature and relation of poetry and religion. Chapters III and IV are a consideration of his views on form and expression, respectively. The second chapter is concerned to expend Santayana's insights into the role of the materials of a work of art. It is argued that Santayana's views suggest an insight defensible by analytic techniques. The subject of the first chapter is the thesis that beauty is objectified pleasure. The aim of this thesis is to give a thorough exposition of Santayana's philosophy of art, with a critical commentary using the methods of analytical aesthetics.
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