aesthetic

Aestheticians and moralphilosophers alike are inclined to the view that there is no particular!J beneficial effect on moral life ofa developed aesthetic sensibility. The usual supporting witness is the pitiless Nazi SS officer with a refined tastefor Mozart and torture. But though his testimony can hard!J be gainsaid, there is an unnoticed and unwarranted narro1ving of the scope ofaesthetic sensibiliry implicit in the very production ofsuch a witness. In a word, aesthetic sensibiliry is reduced to a matter of iabat Kant called taste, wbicb, for him, iuas a matter ofjudgments ofthe beautiful, whether in art or nature. What is neglected is the parallel Kantian notion of the sublime. Kant charges those who remain unciffected by the sublime not with a want oftaste but a want of feeling,, and he makes it clear that if we are to be moved by the sublime we must already be furnished with moral ideas. In that case, our question should not be tuhetber there is a beneficial effect on moral life ofa developed aesthetic sensibility, but whether moral life can have an ciffect on aesthetic sensibiliry. But before ne can address such questions we need to examine Kant's conception of sublimiry, which appears to connect it, not just to the moral life andpoetry but also to religion, in such a wqy that we mqy come to the conclusion that the relationship between moral life and aesthetic sensibiliry is reciprocal, in the sense that whereas we mqy need to befurnished with moral ideas to be moved by the sublime, this andpoetry (or the arts more general!Y), turn out to be a means ofextending our conception ofwhat constitutes moral life. I make no attempt in whatfolloivs to offer a systema tic account ofwhat Kant writes about sublimiry, ideas and art in the third Critique, and nor do I attempt to show af!)' general cultural influence on the poet whose work I appeal to from time to time, W:B. Yeats. It is rather that I have been both moved and perplexed l?J Kant's account of aesthetic ideas over a number ofyears1 and though I have written about these issues elsewhere, (McGhee1 2000) further reading shows me the inadequacy of my previous understanding. Over the same number of years, and indeed for much longer, I have also been moved and perplexed ry the greatpoems of Yeats's The Tower and The Winding Stair, and I have sometimes thought that the poet and the philosopher can shed light on the meaning ofeach other's work.

Purpose: Considering the importance of aesthetic education in students, the purpose of this study was the aesthetic education of elementary school students: analysis of dimensions and components with a qualitative approach. Methodology: This research in terms of purpose was applied and in terms of implementation method was qualitative from type of exploratory inductive. The research population was specialists and professors of educational sciences of Tehran city in 2020 year, which according to the principle of theoretical saturation the sample size was determined 10 people who were selected by non-random purposive sampling method. The instrument of this research was a semi-structured interview whose validity was confirmed by the triangulation method and its reliability was obtained by the agreement coefficient method between the two coders 0.90. Data were analyzed by open, axial and selective coding methods in MAXQDA-2018 software. Findings: The results showed that for the aesthetic education of elementary school students were identified 21 indicators in 10 components and 3 dimensions. The dimensions were included constructing learning experiences (with 3 components of reviewing the previous lesson and learning prerequisites, briefly stating the objectives of each lesson and presenting new material along with practice by students), progress in short steps, but at a fast pace (with 3 components of applying an appropriate behaviors with aesthetics features, applying a teaching model and planning for students' learning experiences) and presenting feedback and error correction (with 4 components of applying established learning principles, regular feedback and corrections, performing exercises with clear instructions and guiding students in doing the first exercises). Conclusion: According to the results of this study, it is necessary to plan for the aesthetic education of elementary school students through the identified dimensions and components.