الفهرس 
طبيعة الاتجاه عند جوتيوجد فقط 14 صفحة متاحة للعرض العام
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المستخلص
The study that we have is an attempt to reveal the aesthetic and artistic visions and ideas of “Berys Gaut”, and to clarify many of the concepts and ideas that are put forward in aesthetics and art through Gaut’s perception of these concepts and ideas. Gaut presented a distinct concept of art, which is the concept of “Cluster”, and that concept is appropriate for understanding art, and he consider in ”Cluster” that the narrative of the concept of art gains support if it fits with real theories about art. That is, if it has an indicative benefit, as well as Gaut’s criticism of theories of aesthetic value, and he presents his point of view through his critique of previous views, including ”Roger Scruton” and ”Immanuel Kant”. For ”Gaut”, the artistic and aesthetic value is equivalent. He consider that the aesthetic characteristics of artworks are it’s evaluative characteristics, and he found that the aesthetic characteristics of natural subjects fall under the aesthetic characteristics of artworks. As well as with regard to emotion to ”Gaut”, It is a autolysins that can be felt, and one that can characteristically motivate actions, and given the importance of emotions in moral education, the emotional responses to the events represented constitute a powerful means of moral enlightenment in art. With regard to the fundamental issue between beauty and morality, ”Gaut” presents three main philosophical trends in this issue, which are Autonomy (aesthetic), contextual and morality (which relates to actions and feelings), and then ”Gaut” rejects these doctrines and provides a set of arguments confirming his rejection, to defend morality (which relates to personality and rationality attributes). Gaut identified moral foundations, including rational values and practical reason, influenced by “Kant”. Turning to cinematic art, “Gaut” mentions four challenges facing cinema to prove that cinema is a form of art, and “Gaut” acknowledges that cinema is the motion picture medium. He also identifies two types of cinematic authorship levels, namely; the ontological level and the lowest level of authorship. Following ”Gaut” discussed cinematic authorship; he begins to clarify how one understands films that are the product of already written artwork. He begins by discussing the two most influential theories of interpretation, namely, “Intentionality Theory”, and “Constructivist Theory”, which were rejected by Gaut, since it considered that the interpretation of artwork includes many of the the factors that determine it, and a single theory is not sufficient to explain the artwork, so he proposed what he calls the “Synthetic Theory”. Moreover, his definition of creativity, and the relationship between each of the following: Creativity and Finalism, Creativity and Virtue. The Creativity is not a perfect virtue, because proper inward motive is not necessary for it; he also clarifies the relationship between creativity and imagination, and identifies four uses of imagination. In one of these uses, imagination is synonymous with creativity. It also differentiates between two types of creativity as follows: Negative creativity and positive (Active) creativity, passing through the relationship between creativity and metaphor. With regard to the relationship between creativity and rationality, “Gaut” divides the philosophers into two parts: One of them believes that creativity is characterized by rationality, such as Aristotle, and the other section believes that creativity is characterized by irrationalism, such as Plato.