Art and morality are intrinsically related and go hand in hand in shaping and influencing our society and their complexity has been argued and discussed upon since their origin. In his Republic , Plato saw the function of the actor as bogus, presenting a dangerous illusion of reality, and masking the truth of existence by the pretense of acting. Aristotle, in The Poetics, saw the role of the actor somewhat differently, suggesting that by witnessing pity and fear (in his view the essence of tragedy) on stage, an audience could experience a catharsis of the emotions associated with real tragic events, without having to experience them as first-hand participants. Since then, the 'stand-off ' between those who have seen art as having a direct impact on morality, and those who have asserted its independence, has persisted.  Art broadens our horizon, gives birth to revolutionary ideas and innovations.
He found man to be ultimately good in nature, and that society 's influence and pretentiousness are what spoiled man 's essential goodness. Rousseau 's philosophy combined between the realistic and ideal, and he aspired to a better world. Rousseau introduced one of the principles that later on would be a major characteristic of Romanticism, that is: in art, the free expression of creativity is more important than following formal rules and traditions. His views were opposed to those of his contemporaries who preferred to put order to the chaos of human experience. His Romanticism further developed in his novel, The New Eloise, and is praised as one of his greatest works.
Sometimes, it can also take the form of self-derision. It is one of the oldest themes on the basis of which humor is analyzed. According to this theory, a person can be found comical is therefore considered to be inferior, if he or she is inadequate according to a set of agreed-upon group or societal criteria. Both Plato and Aristotle wrote about humor as a form of mockery or disdain, usually self-directed, which should be kept at a minimum (Janco, 1984). The expression of humor as superiority can either serve the mechanism of control or a form of
Walter White vs. The World of Antihero Dramas The article “The Best Antiheros Aren’t Vicarious Thrill Rides. They’re Morality Plays in Reverse,” by Todd VanDerWerff argues that a successful antihero drama thrives on portraying a character who not only slowly loses his or her morals, but also one that has something tangible to lose like family. The article calls into question the use of antiheroes on television and whether or not they are held to this standard of quality. By explaining the difference between a superior and subpar antihero through multiple examples of antihero dramas, VanDerWerff successful analyzes and describes the keys to a quality antihero that an audience adores.
Wilde’s ‘The Picture of Dorian Grey’ is a story immensely useful in painting a moral lesson. It is a representation of the potential consequences of having an unbalanced personality, which can be best read through the principles of the psychologist Sigmund Freud and his theories on the id, ego and superego. The id, which is the primitive part of our personality, operates on the pleasure principle and is entirely selfish –demanding instant gratification of its needs. It is manifested in ‘The Picture of Dorian Grey’ through Lord Henry, who ‘represent[s] to [Dorian] all the sins [he has] never had the courage to commit.’ The Superego, by complete contrast, represents the personalities internalised sense of right and wrong and is based on the morality principle. It is embodied in the character of Basil Hallward, who symbolises the novels only moral figure who is destroyed at the end of the story for presenting a threat to the pleasure principle of the id.
In Plato’s mind, he thought the ideal connot see by us. Therefore, those things that we can see is dedfinitely imperfect. Perfecttion is only exist in the process of chasing perfection. As the above mentioned, art is a duplication of visibale things. Then, art becomes a dummy of copy.
In Philabus, Plato states that when harmony of the soul is disrupted, one becomes self-ignorant, and can acquire a false sense of beauty, wealth, and virtue. Within these three distorted categories, are those who have the power and strength to avenge themselves and be hurtful, and those who don’t and are harmless. The former are considered odious, while the latter are considered ridiculous. In Nicomachean Ethics, Aristotle uses the metaphor of a balance scale, where the extremes
It was launched mainly to create "art for art 's sake" and to exalt taste, the pursuit of beauty, and self-expression over moral expectations and restrictive conformity. The freedom of creative expression and sensuality that Aestheticism promoted exhilarated its adherents, but it also made them the object of ridicule among conservative Victorians. Nonetheless, by rejecting art 's traditionally didactic obligations and focusing on self-expression, the Aesthetic movement set the stage for global, twentieth-century modern art. This movement is supported by notable and contemporary critic figure such as Walter Pater and Oscar Wilde. Oscar Wilde was a contemporary critic and a playwright.
Heroes and villains, protagonists and antagonists, princesses and paupers: tales as old as time. The duality of a morally good character opposing a wickedly evil character is the hallmark of most forms of literature. However, Richard III defies these conventions with its protagonist identifying both as a victim and villain in his own right. Richard envelops both characterizations which results in an internal power struggle. Additionally, Richard entraps the audience into his schemes and deludes their systems of knowledge as well.
An alternate critical part of this content is that the plot is optional to execution. The centre is not on the story however on the way it is instituted. It brings into inquiry the veracity of the lawfulness endeavour. It demonstrates how truth can be delivered, changed and controlled as indicated by the needs of the exclusive class. It shows how outrage fills social majority rule government – which