The Artistic Truth in Aristotle’s Criticism (Published)
The present study examines Aristotle’s definition of art. This examination helps in understanding the nature of art and the artistic truth it ought to carry. Aristotle believes that there is truth in art because it is not independent from the reality from which it emerges. The study advances the thesis that all arts are mimetic; therefore, they are produced by imitation. This notion has misled many thinkers by thinking that art is three times separated from the truth, as Aristotle’s teacher, Plato has demonstrated in his argument on the nature of imitative arts. However, Aristotle does not repudiate this assumption, but he tries to create a natural bond between art and the reality it produces. In short, Aristotle invites his readers to enjoy the artistic truth in art by separating it from the actual one in reality.
Citation: Mahmoud A. Al. Sobh, Ameen Z. Al Khamaiseh and Samer M. Al-Zoubi (2022) The Artistic Truth in Aristotle’s Criticism, European Journal of English Language and Literature Studies, Vol.10, No.4, pp.58-63
Martin Heidegger’s Viewpoint about Art (Published)
Art, and nothing else, is the biggest tool for life and high motive for it. Aesthetics and art philosophy is always important for thinkers. This subject always has been studied. Ideal beauty concept is not concerned for existence art philosophy. This is a question for history of aesthetics. No philosophers ask “what is beauty?” now. Art making is assigned to artist intelligence in current aesthetics science. Heidegger studies and destroys western ontology to find way of creation of new concept of world and human to metaphysics to pave the way of thinking. Heidegger tied to find the origin of art in the thesis of “The origin of art working.” Heidegger consider the truth as an essential way for art realization. Truth has a show in any art work. Heidegger considers the truth nothing except the showing. This article tries to study the historical way among most famous philosophers before Heidegger and after this type of viewpoint, he tried to assess this subject as much as possible referring to various art works.
Anomy and Postmodern Relativism (Published)
The presented study deals with philosophical analysis of modern and postmodern notions of public space. The actual problem of relativism in European culture is a consequence of essentialism, the belief that the world, reality or universe, has some inner essence which cannot be grasped in the language. Text analyzes the two main themes. Firstly, the treatise attempts at an philosophical analysis of the category – public space. It points out the dissension between the traditional and postmodern definition of this conception and the consequences resulting from these different attitudes. As far as the methodology is concerned, the study is based on French postmodern philosopher J. F. Lyotard, presenting the postmodern approach as a greater contribution. In postmodern public area we can meet two basic types of dissentions, while only the first of them can be solved by further grow of specialization and the expertlike know. The second part of the study discusses Richard Rorty’s philosophy, influence of Rorty’s ideas on solving some traditional philosophical topics, especially the question of relativism. Richard Rorty’s untraditional, provocative and inspiring version of neo-pragmatism enables us to view all the theories created so far by human culture as a case with tools. Physics and astronomy can be seen as a way to cope with some aspects of the Universe, philosophy, religion or literature as ways that help us cope with other aspects of the reality. One form of research results in statements, another in images, mathematical equations or stories. The emphasis is put on the analysis of the influence of neo-pragmatism and continental postmodernism on Rorty’s writings.