UNIVERSITY OF SOUTH AFRICA (UNISA)
College of Human Sciences – School of Arts
⋄
ASSIGNMENT 02
Semester 1 – 2026
⋄
Module Code: THL1501
Module Name: Introduction to Theory of Literature
Assignment No.: 02
Due Date: 24 April 2026
Semester: Semester 1, 2026
Unique Number: 657810
Submitted in partial fulfilment of the requirements for
Introduction to Theory of Literature (THL1501)
at the University of South Africa.
, UNISA | THL1501 Assignment 02 – Semester 1 2026
Question 1: Arguing for Objective Definitions of “Beauty” and “Aesthetics”
The relationship between aesthetic experience and objective definition has puzzled thinkers
for centuries. Marcia Eaton, in her work on basic issues in aesthetics, confronts a persistent
problem: people assume that because beauty feels personal, it must be entirely subjective,
impossible to pin down with any precision (UNISA, 2024). This essay argues the opposite.
Despite the apparent difficulty, both “beauty” and “aesthetics” can be meaningfully defined
in ways that carry genuine objectivity, provided we understand what kind of objectivity is
actually possible.
1.1 The Problem with Pure Subjectivism
The common argument against objective definitions goes something like this: beauty is in the
eye of the beholder, cultural standards differ dramatically, and therefore no universal criteria
exist. Eaton takes this seriously (UNISA, 2024). She acknowledges that different historical
periods and different cultures have valued vastly different physical forms, landscapes, and
works of art. But acknowledging that disagreement exists is not the same as proving that no
shared ground is possible.
Consider how we treat other evaluative terms, like “nutritious” or “structurally sound.” Whether
a building is structurally sound depends on measurable criteria, and yet non-engineers dis-
agree about buildings all the time. Disagreement does not rule out objectivity; it just means
the criteria require expertise or context to apply correctly. The same logic applies to aesthet-
ics (UNISA, 2024).
Key Distinction
Subjective Response vs. Objective Criteria: Saying that beauty feels personal to the
observer is not the same as saying there are no objective features that reliably produce
that response. The experience is subjective; the features that generate the experience
can still be described objectively.
1.2 Defining “Aesthetics” Objectively
Eaton’s study guide discussion situates aesthetics as a philosophical discipline concerned
with understanding sensory and perceptual experiences, especially those relating to art and
nature (UNISA, 2024). That definition is already objective in a meaningful sense. It names
Page 1 of 11
College of Human Sciences – School of Arts
⋄
ASSIGNMENT 02
Semester 1 – 2026
⋄
Module Code: THL1501
Module Name: Introduction to Theory of Literature
Assignment No.: 02
Due Date: 24 April 2026
Semester: Semester 1, 2026
Unique Number: 657810
Submitted in partial fulfilment of the requirements for
Introduction to Theory of Literature (THL1501)
at the University of South Africa.
, UNISA | THL1501 Assignment 02 – Semester 1 2026
Question 1: Arguing for Objective Definitions of “Beauty” and “Aesthetics”
The relationship between aesthetic experience and objective definition has puzzled thinkers
for centuries. Marcia Eaton, in her work on basic issues in aesthetics, confronts a persistent
problem: people assume that because beauty feels personal, it must be entirely subjective,
impossible to pin down with any precision (UNISA, 2024). This essay argues the opposite.
Despite the apparent difficulty, both “beauty” and “aesthetics” can be meaningfully defined
in ways that carry genuine objectivity, provided we understand what kind of objectivity is
actually possible.
1.1 The Problem with Pure Subjectivism
The common argument against objective definitions goes something like this: beauty is in the
eye of the beholder, cultural standards differ dramatically, and therefore no universal criteria
exist. Eaton takes this seriously (UNISA, 2024). She acknowledges that different historical
periods and different cultures have valued vastly different physical forms, landscapes, and
works of art. But acknowledging that disagreement exists is not the same as proving that no
shared ground is possible.
Consider how we treat other evaluative terms, like “nutritious” or “structurally sound.” Whether
a building is structurally sound depends on measurable criteria, and yet non-engineers dis-
agree about buildings all the time. Disagreement does not rule out objectivity; it just means
the criteria require expertise or context to apply correctly. The same logic applies to aesthet-
ics (UNISA, 2024).
Key Distinction
Subjective Response vs. Objective Criteria: Saying that beauty feels personal to the
observer is not the same as saying there are no objective features that reliably produce
that response. The experience is subjective; the features that generate the experience
can still be described objectively.
1.2 Defining “Aesthetics” Objectively
Eaton’s study guide discussion situates aesthetics as a philosophical discipline concerned
with understanding sensory and perceptual experiences, especially those relating to art and
nature (UNISA, 2024). That definition is already objective in a meaningful sense. It names
Page 1 of 11
