Como padre de la lógica occidental, Aristóteles fue el primero en desarrollar un sistema formal de razonamiento. Observó que la validez deductiva de cualquier argumento puede determinarse por su estructura y no por su contenido, por ejemplo, en el silogismo: Todos los hombres son mortales; Sócrates es un hombre; por lo tanto, Sócrates es mortal.
En la estética, la ética y la política, el pensamiento aristotélico sostiene que la poesía es una imitación de lo que es posible en la vida real; esa tragedia, por imitación de una acción seria lanzada en forma dramática, logra la purificación (katharsis) a través del miedo y la piedad; esa virtud es un medio entre los extremos; que la felicidad humana consiste principalmente en la actividad intelectual y, en segundo lugar, en el ejercicio de las virtudes; y que el Estado es una sociedad autosuficiente, necesaria para que los seres humanos alcancen la felicidad.
Answer:
Early Italian Baroque came from, and is practically a mixture of the Renaissance and Classical art characteristics. Thus, the formula used to create the early Italian Baroque art style is built upon the techniques, aesthetics and mathematics of the Renaissance and Classical art, from which Baroque art adapted.Baroque artists looked to the Classical, statuesque forms of the Greeks and Romans with their Heroic gestures and bold movements to characterize Baroque figures and portrayed anatomy in correct proportion, with little distortion, just as the Renaissance did. These are some examples of how Baroque art adapted human form and proportion principles from the Renaissance and the Classical. These Baroque artists tinkered with the mathematics from those earlier eras to create unbalanced compositions with diagonal lines.
Explanation:
Art forms give humans a higher satisfaction in emotional release than simply managing emotions on their own. Art allows people to have a cathartic release of pent-up emotions either by creating work or by witnessing and pseudo-experiencing what they see in front of them.
Answer:
The Total Works of William Shakespeare Abridged All the world's a stage, And all the men and ladies only players: They have their exits and their entrances, And one man in his time plays numerous parts, His acts being seven ages. To begin with the infant, Mewling, and vomiting within the nurse's arms. And after that the whimpering school-boy, with his satchel, And shining morning face, inching like snail unwillingly to school. And after that, the lover, Sighing like heater, with a woeful ballad Made to his mistress' eyebrow. At that point, a soldier, Full of interesting pledges, and unshaven just like the part, Jealous in respect, sudden and fast in quarrel, Seeking the bubble reputation even within the cannon's mouth. And after that, the justice, In reasonable circular stomach with great capon lined, With eyes extreme, and whiskers of formal cut, Full of astute saws and cutting edge instances; And so he plays his portion. The 6th age shifts into the incline and slippered pantaloons, With exhibitions on nose and pocket on the side, His young hose well saved, a world as well wide For his contracted shank; and his huge masculine voice, Turning once more toward childish treble, pipes, and shrieks in his sound. The final scene of all, That closes this interesting exciting history, Is moment childishness and insignificant oblivion, Sans teeth, sans eyes, sans taste, sans everything.
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