Therefore, the present si the artist is either experienced and skilled artisan, co - Saudi tables, benches, clothes, shoes, etc., or a farmer, or a doctor, able to treat the disease, or a politician, can officer to create and implement in human life is the ideal form of human society. It is also clear that the artist in the Euro - pascom sense of the word, creating works of art for pure enjoyment or even for the sake of learning, according to Plato, is by no means an artist. An artist lives only illusions, and the embodiment of illusion in life is far from the true task of art. Such artists are not needed, in the construction of the ideal state need from the state to remove. On the other hand, however, this does not mean look directly into the half - tion-recognition of art from Plato. As already said - but the art is always good where it creates a real life or at least helps its creation.
Military music - derivadas courage of military men, not only encouraged by Plato, but it is even necessary. And the music that accompanies our prayers and also to enable et to preserve the courage, Tauke quite necessary. Yes, and all household music if it relaxes morals, not pampers people, not distract them from the business, and helps them peacefully th labor and facilitates, quickens and deepens the mutual relations between people, that music is also necessary. In other words - mi, art in the aesthetics of Plato recognizes only Kah spoga Aksai and not in any other capacity is not allowed. Clear, finally, is the fact, both from the point of view of Plato it is necessary to evaluate the artistic works of the past. Homer in cases where he portrays the gods in a bad way should be studied in the ideal state. Famous authors trage - DIY, often causing, from the point of view of Plato, useless passion, tears, all kinds of fears and thus weaken - ing volitional focus of the audience, Tauke should be excluded because they do not create anything useful DLL o6- society, do not support his spiritual vigor and fortresses, and only taught viewers to sloth and idleness. Thus, the outline of the theory of art in Plato clarified at the stage of analysis of its General aesthetic vzglya - ing. Remain the parts, often substantial, a need may their systematization (in Plato they are always scattered and poorly coordinated) and terminology (without a precise understanding of which is impossible a clear idea about the subject).
You first need to do the most common termi - technology art in Plato the terms of the techn e, "art", "•craft" and mim ësis, "imitation". Then there's the shape - specialized Tauke and expressed by these terms in the Platonic Te R m I n op o g and h e s K y m e t o d. As the first two volumes Shay "•the history of classical aesthetics", this third volume will also be kept in mind for primal aesthetic terminology of Plato. This must be done because of the following two circumstances. First, the terminological treatment not only of Greek philosophy and aesthetics, but of the whole of Greek literature is currently an urgent task of science. For all time of existence of classical Philology published a lot of all kinds of dictionaries, but nevertheless, semasiology has always been one of the most backward disciplines, especially the historical semasiology. Rakiya against assembilies research phylo - sovskih and literary works in modern science is vedushkina the study of the history of individual words, and especially the individual concepts and terms. It should, of course, to fully realize that no work of literature or philosophy is not confined only to the study of individual terms.
The terms that appear in this work, SMOM SACO more about this the product of some integer, in respect of which separate terms and concepts are just parts. But already the elementary dia - lektika teaches us that the whole is not reducible to the individual parts, and is a new quality, which in its content sometimes irrelevant to its individual components, isol - rowanna usatm qualities. Now, we learn the terminology antic - tion myslitelei for the sake of accurate representation about in what form they Express their thoughts. In fact, not realizing the shape of some of the content, it is impossible to understand the content. Secondly, the second volume of our "History antique of aesthetics" found an incredible diversity of terminological aesthetics of Plato.
Military music - derivadas courage of military men, not only encouraged by Plato, but it is even necessary. And the music that accompanies our prayers and also to enable et to preserve the courage, Tauke quite necessary. Yes, and all household music if it relaxes morals, not pampers people, not distract them from the business, and helps them peacefully th labor and facilitates, quickens and deepens the mutual relations between people, that music is also necessary. In other words - mi, art in the aesthetics of Plato recognizes only Kah spoga Aksai and not in any other capacity is not allowed. Clear, finally, is the fact, both from the point of view of Plato it is necessary to evaluate the artistic works of the past. Homer in cases where he portrays the gods in a bad way should be studied in the ideal state. Famous authors trage - DIY, often causing, from the point of view of Plato, useless passion, tears, all kinds of fears and thus weaken - ing volitional focus of the audience, Tauke should be excluded because they do not create anything useful DLL o6- society, do not support his spiritual vigor and fortresses, and only taught viewers to sloth and idleness. Thus, the outline of the theory of art in Plato clarified at the stage of analysis of its General aesthetic vzglya - ing. Remain the parts, often substantial, a need may their systematization (in Plato they are always scattered and poorly coordinated) and terminology (without a precise understanding of which is impossible a clear idea about the subject).
You first need to do the most common termi - technology art in Plato the terms of the techn e, "art", "•craft" and mim ësis, "imitation". Then there's the shape - specialized Tauke and expressed by these terms in the Platonic Te R m I n op o g and h e s K y m e t o d. As the first two volumes Shay "•the history of classical aesthetics", this third volume will also be kept in mind for primal aesthetic terminology of Plato. This must be done because of the following two circumstances. First, the terminological treatment not only of Greek philosophy and aesthetics, but of the whole of Greek literature is currently an urgent task of science. For all time of existence of classical Philology published a lot of all kinds of dictionaries, but nevertheless, semasiology has always been one of the most backward disciplines, especially the historical semasiology. Rakiya against assembilies research phylo - sovskih and literary works in modern science is vedushkina the study of the history of individual words, and especially the individual concepts and terms. It should, of course, to fully realize that no work of literature or philosophy is not confined only to the study of individual terms.
The terms that appear in this work, SMOM SACO more about this the product of some integer, in respect of which separate terms and concepts are just parts. But already the elementary dia - lektika teaches us that the whole is not reducible to the individual parts, and is a new quality, which in its content sometimes irrelevant to its individual components, isol - rowanna usatm qualities. Now, we learn the terminology antic - tion myslitelei for the sake of accurate representation about in what form they Express their thoughts. In fact, not realizing the shape of some of the content, it is impossible to understand the content. Secondly, the second volume of our "History antique of aesthetics" found an incredible diversity of terminological aesthetics of Plato.
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