That side of phenomena, which, in its specific features, is not subject to judgment either from the point of view of theoretical truth, or from the point of view of moral goodness, or material benefit, and which, however, constitutes the subject of a positive assessment, that is, is recognized as worthy or approved - is aesthetically beautiful, or beauty. It differs from the theoretically true and morally good by the indispensable requirement to embody its content in tangible or concretely imaginary realities. The beautiful, as such, differs from the materially useful in that its sensible objects and images are not subject to sensual desire and use. Everything that remains indisputable in philosophy regarding beauty is reduced to these comparative indications. Its positive essence, or that which is actually approved in aesthetic judgments, is understood by different philosophies in different and partly opposite ways. In writings on aesthetics that do not belong specifically to philosophers, the question of the psychological conditions under which a sense of beauty manifests itself in a person is often confused with the question of the proper meaning of beauty.

Great Definition

Incomplete definition ↓

BEAUTY

the universal culture of the subject-object series, fixing the content and the semantic-gestalt basis of sensory perceived perfection. The concept of "K." acts as one of the semantic nodes of classical philosophy, centering on itself both ontological and epistemological-ethical issues. The specificity of the interpretation of K. in the philosophy of the classical type is its fundamentally non-empirical understanding and its attribution to the transcendental principle. The foundations of such an approach to K. were laid by the philosophy of Plato, within which a thing was conceived as beautiful (perfect) by virtue of its conformity to its eidotic image, the idea, the embodiment (objectification) of which, in fact, is the goal of the formation and existence of this object (see. Plato, Eidos, Hylomorphism). Thus, K. is articulated as such and realizes its being in relation to the world of ideas as transcendent; the beautiful is conceived as the embodiment of K. in concrete things. The classical tradition of the philosophical interpretation of K. and classical aesthetics are those vectors of development of European culture that can be considered as one of the most striking manifestations of the evolutionary potential of the Platonic concept, which, according to Windelband, "was destined to become the life principle of future centuries," - given by Plato The semantic vector of comprehension of K. practically founded the entire history of the classical philosophical paradigm: K. was invariably considered as a transcendental phenomenon, and the phenomenon of beauty, because of this, acquired the characteristics of normativity. By “beautiful” European classics understand an object that corresponds to an extra-empirical intelligible canon, as which is postulated variably: 1) a personified God in Christian-oriented philosophical teachings: thus, within the framework of scholasticism, the idea of ​​K. as God proper is modeled: “God creates K. is not only outside himself, he himself, in his essence, is also K. (Anselm of Canterbury). It is God as K. as such who is the transcendent source of the beautiful: "K. in itself is that, the existence of which is the cause of all beauty and creates all K." (Nicholas of Cusa). Only in God, K. and the beautiful (as well as the possibility and reality, form and form, essence and existence) act as identical (Areopagitics). God is "K. herself", which "from the beginning enfolds (implicatio) in itself all natural beauties, unfolding (explicatio) with their ideas and views in the Universe" (Nicholas of Cusa). Thus, "K. is the whole being of everything that exists, the whole life of everything living and the whole understanding of every mind" (Nicholas of Cusa); 2) the impersonal Absolute: from the absolute idea of ​​Hegel, the perfection of which, as K., manifests itself in objects in a sensual way - as the "sensual appearance of the idea", - to N. Hartmann as constituted as the "unreal" content of a beautiful object; 3) the personification of K. as such in the unorthodox cultural lacunae of the Christian tradition, which practically occupies a semantic position isomorphic to the position of God in orthodoxy: for example, in courtly culture, K. Donna is interpreted as “Beauty herself’s favorite fruit” (Bernart de Ventadorn); K. substantiates the entire system of courtesy values ​​(“to live as K.” wants in Flamenca), itself acting as a normative requirement for the troubadour and acquiring a speculative-disciplinary character (see “Merry Science”); 4) abstractly understood correctness: from the Renaissance art theorists oriented towards mathematical formalism ("harmony as the soul of the world" by Josepho Zarlino, "divine proportion" by Luca Pacioli, "rules of nature" by Andreo Palladio) to modernist theorists: "war against vision" and an orientation towards expressing the true essence of objects - "not as we see them, but as we know them" (expressionism), "as they should be" (cubism), as "Plato's flat ideas" (neoplasticism - after Mondrian), etc. P. Being implicitly founded by the idea of ​​pre-established harmony, this direction of interpretation of K., as a rule, forms a skeptical position both in relation to the comprehension of K., as such, and in relation to its artistic reproduction, focusing on the reduction of the completeness of K. in a particular object, in the range from the renaissance soft statement of Vincento Danti (“it is hardly possible to see all the beauty inherent in the human body embodied in one person”) to the programmatic rejection of K.’s reverence in modernism on the basis of the visually observed imperfection of the world (early expressionism, Dadaism);

5) socially articulated content: non-individual cognitive experience (“beautiful is the creature in which we see life as it should be according to our concepts” according to Chernyshevsky), a posteriori framework of subject-practical activity (“man forms matter also according to the laws of K ." by Marx), the ideal of social transformations as a semantic analogue of a perfect social system ("create beauty, immensely surpassing everything that could only be dreamed of in the past" by Lenin);

6) non-empirical expediency, understood both in a teleological key (K. as evidence of compliance with the "goals of man" in Wolff), and in the sense of direct utilitarianism (K. as a supra-individual possibility of pleasure for "the largest number of people" in Bentham). In all these models of interpretation of K., the empirically fixed characteristics of a beautiful object are only external signs of its involvement in K. (harmony as the basis of harmony): "order ... proportionality and certainty" as manifestations of the original expediency in Aristotle; "integrity, or perfection, due proportion, or consonance, and clarity" as evidence of the Divine plan embodied in things by Thomas Aquinas; "strict proportionate harmony of all parts, united by what they belong to", i.e. "number, figure and placement" as a presentation of harmony as such (concinnitas), which is not reducible to their sum, which is "something more" than their combination, and is "the source of all beauty" (L.-B. Alberti). However, with all the reduction (in relation to K. as such) of the beautiful object, the significance of the latter is enormous, because it is through the luminescence in the beautiful that K. carries out a call, gives the subject an incentive impulse of Striving for K. (through the desire for beauty) and transcensus to it: Greek etymology. kalon (beautiful) Plato elevates to the verb kalo - call (Kratyl, 416 b-c). Beautiful Plato calls those objects in which the eidos corresponding to them are most adequately and obviously embodied. Precisely because of this evidence, being among the created similarities, nevertheless, one can "turn towards the open sea K."

(Peer, 210d). According to the Platonic concept, a person, "seeing the local beauty, remembers the true beauty" (Phaedo, 249d). Her call awakens a reciprocal aspiration in the soul, for which Plato uses the personification of Eros in his traditional (mythological) semantics of vector aspiration (Greek eros - desire, desire, passionate attraction). Attraction to K., thus, is constituted as love (cf. later - in Plotinus - the designation of the state of vision of perfection, eidotic correspondence in the object, opening the prospect of cognition of the eidos: "lovers refer to those who see and strive for the image"). Thus, "love for beheld beauty cuts the wings of the soul and induces it to fly" (Plato). The comprehension of absolute truth is modeled in this context as climbing the "ladder of love and K." right up to K. as such: "this is the way to go in love ...: starting with individual manifestations of the beautiful, you must all the time, as if by steps, climb upwards for the sake of the most beautiful" (Pir, 211c). In Neoplatonism, the transcendence of this ascent to the consubstantial is fixed by the concept of ecstasy (Greek extasis as displacement, transcendence, going beyond immanent boundaries). Both scholastic and Renaissance philosophy practically reproduce this paradigm: "the good itself" in Greek is called kalos, and the beautiful - kallos, as if good and beautiful were related. In addition, the Greek word kalo means "I call"; in fact, the good calls to itself and attracts in the same way as the beautiful "(Nicholas of Cusa). Such an interpretation of K. sets a special interpretation of the sensual sphere as a sphere of representation of K.: The Lord put together" K. his" into created things "in a decent sensual way for them" (Anselm of Canterbury); "of sensual beauty the soul rises to true beauty and ascends from the earth to heaven" (Sugery; inscription on the facade of the church in Saint-Denis; 11th century). In this context, sensuality is articulated as a sphere where aspiration and movement (ascent) to K. is realized: "the movement of everything sensual is performed from beauty to beauty" (Nicholas of Cusa). The semantic organization of the universe is modeled by Marsilio Ficino in this frame of reference as follows: "one and the same circle leading from God to the world and from the world to God is called by three names. Inasmuch as it begins in God and is attracted to him - by beauty; because, passing into the world, captures it - with love; and since, having returned to the creator, he unites his creation with him - with pleasure. If God centers the world, then K. is topologically correlated with the “circumference”, for it is the “Divine ray”, penetrating the entire universe that participates in God, the “radiance of the Divine face” in creation (Marsilio Ficino). Similarly, in Hegel the beautiful acts as a "sensual appearance of an idea", in A.G. Baumgarten aesthetics is constituted as a theory of sensory cognition, etc. Love in this frame of reference is "an impulse towards K." (Marsilio Ficino), "the desire to possess K." (G. Pico della Mirandola). Thus, "beauty is the cause of love" (Pico della Mirandola), and "love is the ultimate goal of beauty" (Nicholas of Cusa). Love is born "from the bosom of Chaos" as a desire for perfection (Pico della Mirandola); in romanticism, Chaos and Eros act as necessary prerequisites for K., conceivable as a result of the formation of the Cosmos from Chaos as a result of a creative erotic impulse (Schlegel) - cf. with the personification of Love as cosmic creation in mythological cosmogonies (see Idealism) and the natural-philosophical interpretation of love as an organizing and ordering initial Chaos force (Filia in Empedocles), on the one hand, and the modern synergetic formula of "order out of chaos" - on the other. Less developed, but quite clearly expressed, this aspect of the comprehension of K. in materialistically oriented models: the differentiation of "beautiful as we perceive it" and "really beautiful" in Diderot; understanding of K. as a quality due to which beautiful objects "cause love or similar passion" in E. Burke; aesthetic interpretation of the ugly as "longing for beauty" (M. Gorky). Transcensus to K. as such, leading beyond the limits of sensory experience (ecstasy as "transcendence") in the classical interpretation has two distinct semantic dimensions: (a) - epistemological: starting from Plato, the comprehension of K. as such is identified in the cultural tradition with knowledge absolute truth: canonically, Christian mysticism practically identifies "the vision of K." and revelation (Bernard of Clairvaux); scholasticism actualizes the problem of K. in the context of the principle of "analogy of being", which substantiates the model of cognition of truth as recognition of the luminescence of the K. Creator in creation; unorthodox courtly culture models love for the personified in Donna K. as the path of true knowledge: "All your beauty, God, // In this mistress I comprehended" (Arnaut de Mareil); Baumgarten constitutes conceptual aesthetics as a cognitive discipline, etc.; (b) - moral and ethical: familiarization with K. traditionally conceived by European culture as the acquisition of spiritual and moral perfection: K. as "dignity" (dignitas) y Cicero; Bonaventure's model, according to which K. - "in each of the creatures that are under heaven ... And this is the first step on which the soul must enter if it wants to ascend to the halls of love ... The universe is a ladder for ascent to God"; for the courtly tradition, focusing the fullness of K. in the image of Donna, a specific eroticization of moral perfection is characteristic: it is by approaching Donna as a woman that the knight joins the moral good: "In Donna there is a wonderful source // I gain valor" (Daniel Arnaut), " Touching the delicate skin // And multiplying kisses, // Raymond, well, how much // I became rich in spirit, // Having tasted the delights of love "(Guillaume de Cabestan); in romanticism, K. is identified with freedom, and the beautiful in this frame of reference acts as "freedom in the phenomenon" (Schiller). In the outlined context, set by the deep foundations of European culture, within the framework of extra-transcendental philosophical systems, the phenomenon of K. loses its ontological status, due to which the concept of beauty loses its transcendent criteria, articulated as a purely subjective: "K. fiction" (L.-B. Alberti) , "that which represents the subject only subjectively" (Kant), "the designation of a characteristic emotion" (Dewey), etc.; Chernyshevsky's criticism of Burke for the ontologization of the beautiful is in the same line. Only an arbitrary application of subjective perception to the object (state) that caused it allows us to speak in this context of K. as an objective construct ("presentative epistemology" of neorealism and "representative epistemology" of critical realism): "beauty is pleasure considered as a thing" (Santayana ). In a frame of reference that excludes the possibility of transcendence, contact with the beautiful, respectively, does not mean the comprehension of K. as such, and therefore loses its epistemological potential: "a judgment of taste is not a cognitive judgment" (Kant), and art as the formation of symbols is in principle not comparable with "non-symbolic experience" of objectivity, expressing the immanent "symbolic ability" as a free play of the human spirit (S. Langer). In contrast to the classical tradition, postmodernism, based on the deconstructivist strategy of eliminating the "transcendent signified" (Derrida), sets up a space for philosophizing in which the problem of K. is, in principle, not articulated. Declaring the text referring to the thesaurus of established cultural meanings ("text-pleasure") and involving the reconstruction of its immanent meaning ("comfortable reading") as traditional, R. Barthes contrasts it with "text-enjoyment", which, on the contrary, destroys the "historical, cultural, psychological foundations of the reader, his usual tastes, values, memories, causes a crisis in his relationship with the language." Such a text acquires virtual meanings only in the procedure of its "meaning" (Kristeva), the "source of meaning" becomes the reader (J.H. Miller). Thus, "text-enjoyment" arises in the very procedure of reading: "with such reading, we are no longer captivated by the volume (in the logical sense of the word) of the text, stratified into many truths, but by the layering of the very act of signification" (R. Barth). Such an approach to the text sets a vector that led by the mid-1980s to the formation of the paradigm of "postmodern sensitivity" (Lyotar, A. Megill, V. Welsh), which is radically different from the traditional understanding of the sensual sphere as the sphere of the presentation of beauty and transcendence to K. The absence of immanent meaning that would represent the "transcendent signified", makes the text fundamentally open to plural meaning, constitutes it as chaos (both in the mythological meaning of originality and in the synergistic meaning of creativity): "the world of the decentered" as a condition for the possibility of narrative freedom (see Narrative). And just as in classical natural philosophy, cosmically articulated Love, which arranges the world, arises "from the bosom of Chaos" (from Orphism to the Renaissance), so the "love discourse" (R. Barth) of postmodernism is realized through "desire", which "disconnects, changes, modifies ... forms" (Guattari). However, if in the classical philosophical tradition this organization acquired an ontological status, then the "love discourse" is fundamentally procedural and non-final: the semantic structures that have become do not set the text ontology, "desire ... organizes ... forms and then abandons them" (Guattari). "Desire" as a language strategy for the destruction of established structures and meanings ("thinking of seduction" by Baudrillard, "sexuality and language" as "forms of desire" by Merleau-Ponty) is realized through the mechanisms of deconstruction, being objectified in the "erotic textual body" (R. Barthes ). In the figure of "love discourse" the prospect of ecstasy takes on a purely speculative-linguistic form, and K. as an extra-textual phenomenon turns out to be redundant.

If you come across the topic of beauty in the OGE or the Unified State Exam in social studies, then in this case the example of the essay below will be useful to you.

What is beauty?

It can be said about beauty that it is admired at all times. This is a very interesting topic and there is no exact answer to it! For everyone, beauty is perceived in different terms. People thought a lot about this, and no one can give an exact answer, there were many disputes and disagreements, but they did not come to a common opinion. Let's consider "What is beauty?" from different points of view.

So, from the point of view of a person, there can be a beautiful appearance or a person’s soul is beautiful, just like nature, beautiful houses and many other examples of them are endless. Beauty plays a big role in a person's life, because a person perceives everything with his eyes. There is even a saying: "Meet by clothes, see off by mind." What does this mean? It's simple, looking at a person, we see his facial features and try to understand his character, whether the person is kind, honest, serious.

We look at clothes and we can determine whether a person is neat or not, whether he is well brought up. Well, that's wrong! Looking at the appearance of a person, it is impossible to determine what he is at a glance. We can only say about its external beauty, but not internal. After all, we see it right away. But most often this beauty is deceptive and this is the worst thing. When you see a person, and you see how handsome he is, you have positive emotions and admiration for his appearance. But as soon as you get to know his inner world, his inner beauty, which turns out to be the exact opposite of a person, then immediately there is no desire to talk and communicate with him.

This is where we understand that inner beauty is much more important than outer beauty. We immediately cease to perceive its external beauty as it seems to us at first sight. Therefore, one cannot judge a person without knowing his inner world. Of course, there are cases when you look at a person’s appearance, and he is so ugly, clumsy, and people don’t want to communicate with him, simply because he is ugly. But as soon as you get to know him more, his inner beauty, his rich nature, his character, and you see how kind, polite he is and what his inner world is, how beautiful he is, you forget his external vices. You want to talk to communicate with this person, and no external beauty is needed because he has a beautiful inner nature and only goodness and happiness come from him - this is real beauty! It immediately becomes very insulting for those people who are kind to everyone and bring joy and happiness to people, but they don’t want to communicate with them, simply because they don’t have a beautiful appearance. No wonder they say: “Without a beautiful appearance, no one wants to know what kind of soul you have!”.

There are also cases when the beauty of the soul and body is combined in a person, as they say. Even if a person is dressed in ugly clothes, the beauty of his soul will radiate light and kindness, and no one will look at his appearance, it will not be so important.

Why does a person need beauty?

If a person is kind to everyone, it is easier for him to communicate with others. His world is beautiful, rich, pure. When they say that a person has a beautiful soul, this is the main wealth that needs to be protected in this, it cannot be bought. The beauty of the soul attracts kind people. Beauty is a priceless gift that is very precious.

There is such a wonderful passage from the poem "Ugly Girl" by the Soviet poet Nikolai Alekseevich Zabolotsky.

“... And if so, then what is beauty

And why do people deify it?

She is a vessel in which there is emptiness,

Or fire flickering in a vessel?

That is the whole point of my essay. This passage can be explained if a person is beautiful in soul, then fire burns in him and warms others, and if a beautiful appearance and soul are the complete opposite, then there is emptiness in this person!

This question pops up in people's minds from time to time. Many have tried to answer it, so let's try to do it.

standard definition

Anyone can find a standard definition of the term "beauty" by looking into a dictionary or entering a query into a search engine. If everything is so simple, then why is this simplest question asked again and again? It's simple: for each person, beauty is presented in different ways.

And yet, let's take as a basis the definition from Wikipedia: "an aesthetic category denoting perfection, a harmonious combination of aspects of an object, in which the latter causes aesthetic pleasure for the observer." An explanation in abstruse words of a simple truth: beauty is that which is pleasant and ideal for someone.

How does it manifest itself

Someone might think that speaking of beauty, we mean only that which refers to the appearance of a person. Alas, this is exactly what often happens. Very often people forget where you can find beauty not only for the eyes, but also for the soul.

If we are not talking about human beauty, then the beauty of the environment immediately appears to our eyes:

• nature;
• architecture;
• sculpture;
• drawing;
• mathematics.

These are just some of the “habitats” of beauty, but how majestic and beautiful they are. For centuries, people have watched the course of life both near them and far away, in space, and have tried to perpetuate all this information in order to be able to touch the beautiful eternity. But speaking of all this, let's touch on the beauty that is hidden inside each of us.

inner splendor

Quite often we note for ourselves that in this or that person we are pleased with something that is not subject to the eyes. These are not the features of the figure, clothes, some movements or facial features. This is something that comes from within, makes you hold your breath and try to touch, but constantly slipping away.

We can feel this in the world, but this feeling will depend not on the beauty that is visible, but on that which is a sensation for us. The inner energy of a person. Places, knowledge - no matter what, but it is also beautiful - making us forget where we are and what is happening around.

Beauty is not only the external qualities of a person, object or the world as a whole. Beauty is a feeling that we experience, that we feel and accept.

1. Know how to see the beautiful.

2. The comprehension of beauty:

A) the beauty of nature;

B) a person is beautiful in work;

C) beauty is in harmony.

3. Beauty in human life.

Beauty is the joy of our life.

V. Sukhomlinsky

Beautiful life, beautiful nature, beautiful smile... Who among us has not admired beauty? It is impossible to pass by the beautiful, you will definitely stop your eyes, hold your attention at least for a while. What is beauty? Many have thought about this. Beautiful, wonderful! We use these words often

They experienced their impression of what they saw. But do we always notice the beauty that surrounds us? Can we always see and hear the beautiful?

Our life is wonderful and amazing. Beautiful and amazing nature that surrounds us. But all its unique beauty and charm is revealed only to those who listen inquisitively and carefully peer into it, who treat it with care. I recall the words of N. Rylenkov:

There is little to see here

Here you need to look

So that with clear love

The heart was filled.

Beauty is the joy of our life, it is what surrounds us. After all, sometimes we

We notice what a beautiful azure sky and the evening dawn, the twinkling of stars and the rustle of trees in the forest. And how many colors nature uses to show the beauty of autumn! It is necessary to notice the beauty of nature, cherish it and protect it.

The man is beautiful in his work. Beauty and creativity bring together people of different professions. After all, more than once we paid attention to how a person with inspiration, creatively does something. We are amazed, surprised, how, for example, a person quickly carves a unique figure out of wood - a real miracle - in a few minutes. We admire and say: “What a beauty!” Confectioners, decorating their products, can create real works of art that you can only admire. We respectfully speak of people who do their work beautifully. “Golden hands”, “jack of all trades” - such is the assessment of skilled people who do their work with soul, with love, giving pleasure to themselves and others.

A beautiful person is a harmoniously developed person. A harmonious person is easy to communicate with. For him, the world is rich, fascinating, and most importantly, kind and open. They say that such a person has a beautiful soul. And this is the most important wealth. Life is beautiful for people who constantly expand their knowledge, cultivate humanity in themselves and consider humanity to be the basis of relations between people. Mankind will always admire brilliant people, such as Leonardo da Vinci, Michelangelo, Raphael, Leo Tolstoy. The circle of their interests was boundless, their connection with life was deep. The life of these people did not flash without a trace. They directed all their knowledge, skills, love for the benefit of mankind. We admire the beauty of the paintings of Leonardo da Vinci and Raphael. When classical music sounds, we become calm or anxious, joyful or sad. The meeting with the beautiful awakens in our soul high light feelings. These feelings do not leave us for a long time, disturb the soul, there is a desire to be better. And we say: “Great!”

Beauty plays a huge role in human life. Influencing a person, beauty awakens the brightest, loftiest feelings in his soul. It makes him kinder, nobler, develops in him the desire to create, to create new beauty for the joy of people. No wonder the Russian proverb says: "Where there is love and kindness, there is beauty." The main thing is to notice this beauty, not to pass by. The beautiful can be there. Stop in amazement before the amazing, and then your soul will become happier, kinder, warmer, because beauty gives birth to the beautiful.

There is only the promise of happiness. Stendhal It is said: beauty is the promise of happiness. But nowhere is it said that this promise will be fulfilled. Paul Jean Thule Beauty is an eternity lasting a moment. Albert Camus Distance is the soul of beauty. Simone Weil Welcome ... ... Consolidated encyclopedia of aphorisms

BEAUTY, beauty, pl. beauty (beauty outdated.), female. 1. only units distraction noun to handsome. The beauty of the drawing. The beauty of northern nature. 2. only units Beautiful, beautiful (as a general concept; book). Truth, goodness and beauty. 3. only pl. Beautiful… Explanatory Dictionary of Ushakov

s; honeycombs; and. 1. to Handsome. K. Central Russian landscape. K. hands. K. movements. Soulful, inner k. We saw the city in all its beauty. 2. Beautiful, beautiful. What k. all around! Feeling of beauty. To life. * Beauty will save the world (Dostoevsky). 3.… … encyclopedic Dictionary

Beauty, splendor, splendor, picturesqueness, grace, elegance, picturesqueness, prettiness, elegance, charm, prettiness, artistry ... take beauty, give beauty ... Dictionary of Russian synonyms and expressions similar in meaning. ... ... Synonym dictionary

Exist., f., use. often Morphology: (no) what? beauty, why? beauty, (see) what? beauty what? beauty about what? about beauty; pl. What? beauty, (no) what? beauty, why? beauties, (see) what? beauty, what? beauties, about what? about beauties 1. Beauty ... ... Dictionary of Dmitriev

The universal of culture is the subject of an object series, fixing the content and semantic gestalt basis of sensory perceived perfection. The concept of "K." acts as one of the semantic nodes of classical philosophy, centering on itself as ... ... The latest philosophical dictionary

- (symbol b, from English beauty beauty, beauty), additive quantum. number characterizing hadrons, carriers to horn yavl. b quarks; is preserved in the strong and el. magn. interactions, but is not preserved in the weak impact. Introduced for interpretation ... ... Physical Encyclopedia

- "KrAsota" folklore ensemble of the Novosibirsk State University. Created in 1981 from the vocal group of the NSU academic choir. Initially, he performed his own pop arrangements of folk songs, but later began to perform ... ... Wikipedia

beauty- Beauty ♦ Beauté Qualitative characteristic of the beautiful, its actual state. How competent is the separation of the concepts of beautiful and beauty? Etienne Surio (***), in his "Aesthetic Dictionary", believes that it is competent: "Regarding about ... ... Philosophical Dictionary of Sponville

See Beautiful. Philosophical encyclopedic dictionary. Moscow: Soviet Encyclopedia. Ch. editors: L. F. Ilyichev, P. N. Fedoseev, S. M. Kovalev, V. G. Panov. 1983. BEAUTY ... Philosophical Encyclopedia

Books

• Beauty, Vulin A. Category: Historical novel
• Beauty , Alexander Vulin , A powerful and vivid historical Balkan novel with a carefully developed metaphorical code in the spirit of Milorad Pavich's "Khazar Dictionary" beloved by the Russian reader, but absolutely ... Category: Historical literature Publisher: Alethea, eBook(fb2, fb3, epub, mobi, pdf, html, pdb, lit, doc, rtf, txt)