| Popis: |
examination of the nature of art in general; if such examination is successful, it may help educate that larger public to the virtues of the art they rejected, or even confirm that rejection. At the very least, it may teach us how to react to these new works of art. A concrete poem, for example, represents a deliberate denial by its creator of what a poem is thought to be. Its analysis, if taken seriously, raises anew the question of what a literary object is, its ontological structure, and its relation to the other arts. And if we find that poems are to be seen as well as read, while paintings are to be read as well as seen, then the arts can be viewed in a new and fruitful perspective in relation to education in appreciation. Although I hope to suggest that as aesthetic objects poems are not so different from paintings as we might think, discussions of the ontological status of the work of art by twentieth century Anglo-American philosophers have tended to deny Horace's dictum Ut pictura, poesis. Typically this denial contrasts a painting, identified with a physical object or event or class of such objects or events, with a poem or |
