Book 1 of Hume's Treatise offers a digression on insult and satire that can be expanded when considered in tandem with his account of conflicting emotions in "Of Tragedy." The passage in the Treatise suggests that insult and satire can convey precisely the same disapproval yet arouse quite different reactions from their objects. How can this be? If satire is compared to tragedy, we can see that both give rise to negative reactions that are often mitigated by the manner in which the material is presented.
This paper aims to underscore the significance of T. S. Eliot's philosophical reconception of selfhood in his early poetry. The relativistic conception of the self that Eliot derives from his engagement with figures like F. H. Bradley underlies how the self-obsession of Eliot's personae intersects with inquiries of knowledge and experience. The dialogue between Eliot the philosopher and Eliot the poet illuminates the continuity between his intellectual concerns and his literary-aesthetic principles.
This paper examines how Plato's theories of beauty in The Symposium were adapted into a mid-century aesthetic for American ballet by George Balanchine and Suzanne Farrell. Their creative methods resulted in a literal realization of ideal and absolute Platonic beauty. Heeding Diotima's teachings to Socrates on beauty, eroticism, and procreation, Balanchine and Farrell bring the aesthetic relationship between the material body and dematerialized beauty to life in the form of a new "corporeal minimalism"-female beauty in its most absolute state achieved through the dancing body itself.
