Abstract

This is another volume in the continuing series published under the auspices of Tulane University. It contains eight articles. Ramona Cormier’s article "The Concept of Isolation in Contemporary Aesthetic Theory" uses the term isolation in accordance with Langer’s definition. In order to develop her point Cormier distinguishes between the historicity of an art work and the historiography of the work. On the basis of this she discusses briefly the attitudes of Jerome Schiller, Clive Bell, T. S. Eliot, Jerome Stolnitz, Roger Fry, George Dickie. Shannon DuBose remarks in "Poesis and Cosmos" that "... views advanced [on art] in The Republic loom larger than need be in discussion of Plato’s theory of art; they should be balanced with suggestions advanced in other dialogues, particularly The Timaeus." One cannot agree more with this need for balance. Professor Feibleman’s article "The Art of the Philosophy of Art" is not so much a discussion of the philosophy of art as it is a discussion of the artist, the role of art in society, the relation of art to other areas of a culture in which art specifically exists. John Glenn, Jr. has written on "Kierkegaard on the Unity of Comedy and Tragedy." I do not agree with all his interpretations of Kierkegaard but his article is interesting. Harold N. Lee in "Action, Perception and Art" rethinks a position he held in the original edition of his Perception and Aesthetic Value. He now holds that "... the two views of the nature of art can be shown to be essentially related and not only externally so...." Marian L. Paulson writes an article, "Structures in Art Media," where she suggests that perhaps the problem of structural relations among art media may find a solution if one takes account of the Jungian notion of the racial unconscious, especially in the resolution of the tensions between anima and animus and between the shadow and transcendence. The article "Truth in Art" by Louise N. Roberts discusses one of the many ways in which the expression "truth in art" may be considered. The author in this case shows how paintings may present a truth in a way quite different from verbal statements. The book concludes with John Sallis’ commentary on Nietzsche’s The Birth of Tragedy.—P. N.