Thinking art: an introduction to philosophy of art
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Springer
2009
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264 | 1 | |a [Berlin u.a.] |b Springer |c 2009 | |
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Datensatz im Suchindex
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adam_text |
Antoon Van
den Braembussche
Thinking Art
An
Introduction to Philosophy of Art
ΎΛ
Springer
Contents
Foreword
.
v
Preface
. xi
1
Introduction: What Is Philosophy of Art?
. 1
1.1
The Current Interest in Philosophy of Art
. 1
1.2
The Terms "Philosophy of Art" and "Aesthetics"
. 2
1.3
Philosophical Versus Scientific Inquiry into Art
. 4
1.4
Art Criticism Versus Art Philosophy
. 5
1.5
The Ideal-Typical Viewpoints in Philosophy of Art
. 7
Further Reading
. 10
Part I The Nature of Art: Classical Answers
to the Question "What Is Art?"
2
The Imitation Theory
. 15
2.1
Introduction
. 15
2.2
Plato's Theory of "Mimesis"
. 17
2.2.1
Art as the "Imitation of the Imitation"
. 18
2.2.2
The Unity of the True, the Beautiful and the Good
. 19
2.2.3
Condemnation of Art as Mimesis
. 19
2.3
The Imitation Theory: From Idealism to Realism
. 20
2.3.1
A First Fundamental Criticism of the Imitation Theory:
Ernst Gombrich
. 22
2.3.2
A Second Fundamental Criticism
of the Imitation Theory: Nelson Goodman
. 25
2.4
A Short Philosophical Interlude
. 26
2.5
The Artist's Studio: Giacometti and the Struggle with "Mimesis"
. 27
2.5.1
Imitation of the Imitation
. 28
2.5.2
Optical Illusion
. 29
2.5.3
The Perfect Representation of Seeing
. 30
Further Reading
. 34
xvi Contents
3 Expression
Theories
. 37
3.1
Introduction
. 37
3.2
Art as the Arousal of Emotion: Leo Tolstoy
(1828-1910). 39
3.3
Objections to Tolstoy's Theory
. 40
3.4
Art as the Self-expression of the Artist:
The Croce-Collingwood Theory
. 41
3.4.1
Philosophy of History
. 41
3.4.2
Philosophy of Art: The CC Theory
. 42
3.4.3
Art as Self-expression
. 43
3.4.4
The Work of Art as a Purely Mental Product
. 44
3.4.5
Artas
"Recreation" or "Re-experience"
. 45
3.5
Objections to the Croce-Collingwood Theory
. 46
3.5.1
Untenability of the Central Assertion
. 46
3.5.2
Neglect of the Medium
. 47
3.5.3
Impossibility of Ascertaining the Original Intuition
. 48
3.6
Short Hermeneutic Interlude: The Complexity
of Interpretation
. 49
3.7
The Artist's Studio: Joseph Kosuth as a Contemporary
Exponent of the CC Theory
. 51
3.7.1
The Essence of Art Is the Idea
. 53
3.7.2
External Manifestation Is Unimportant
. 53
3.7.3
Dialogue Between the Artist and His Audience
. 54
3.7.4
Appendix
. 56
Further Reading
. 58
4
Formalism
. 61
4.1
Introduction
. 61
4.2 Eduard Hanslick
on Beauty in Music
. 63
4.2.1
Central Idea
. 64
4.2.2
Form and Content Are Identical
. 64
4.2.3
Music Is Not Expression
. 65
4.2.4
Music Is Not Mimesis
. 66
4.2.5
The Language of Music Is Autonomous
. 67
4.2.6
From an Aesthetic Point of View,
Only Instrumental Music Is Important
. 67
4.3
Objections to Hanslick's Theory
. 67
4.3.1
Argument in Favor of Autonomy Unsustainable
. 68
4.3.2
Underestimation of the Symbolic Nature of Music
. 68
4.3.3
Musical Expression Unclear
. 69
4.4
Clive
Bell and Roger Fry on "Significant Form"
. 69
4.4.1
Central Idea
. 70
4.4.2
Art Is Not Imitation
. 70
4.4.3
Art Is Not Self-expression
. 72
4.4.4
Art Expresses the Unspeakable
. 74
Contents xvii
4.5
Objections
to the Bell-Fry Theory
. 75
4.5.1
Circular Reasoning
. 76
4.5.2
Ambiguity Concerning Representation
. 76
4.5.3
Underestimation of the Emotional
and Intellectual Context
. 78
4.5.4
Ambiguity Concerning Expression
. 79
4.5.5
Identity of Form and Content Untenable
. 79
4.6
The Artist's Studio: Paul van Ostaijen and Formalism in Poetry
. 80
4.6.1
Concept of Autonomy
. 81
4.6.2
Unity of Form and Content
. 82
4.6.3
Embedded in the Metaphysical
. 82
Further Reading
. 83
5
Art as a Synthesis of Form and Expression
. 87
5.1
Introduction
. 87
5.2
Friedrich
Nietzsche
. 88
5.2.1
Duality
. 89
5.2.2
Mutual Necessity
. 90
5.2.3
Greek Tragedy
. 90
5.2.4
Anti-formalistic
. 91
5.2.5
Anti-romantic
. 91
5.2.6
The Dionysian as Synthesis
. 92
5.2.7
Wagner Critique
. 92
5.3
Langer's Symbol Theory
. 93
5.3.1
Critique of the Imitation Theory
. 93
5.3.2
The Symbolic Character of Language
. 94
5.3.3
The Picture Theory
. 95
5.3.4
Intuitive Symbolism
. 97
5.3.5
Objections to the Expression Theory
. 97
5.3.6
Art Is the Creation of Forms Symbolic
of Human Feeling
. 98
5.4
A Few Critical Comments on Nietzsche and
Langer
. 98
5.5
The Artist's Studio: Kandinsky on Art as Synthesis
of Form and Expression
. 100
5.5.1
Pure Art
. 104
5.5.2
Critique of Formalism
. 105
5.5.3
Inner Necessity
. 105
Further Reading
. 106
6
Aesthetic Judgment: The Legacy of Kant
. 111
6.1
Introduction
.
1П
6.1.1
The Priority of the Aesthetic Judgment
. 111
6.1.2
Critical Philosophy
. 112
6.1.3
Relevance and Current Interest
. 113
xviii
Contents
6.1.4
Kant on the Faculty of Judgment: The Position
and Function of the Critique of Judgment
. 114
6.2
Sense Perception: The Critique of Pure Reason
. 115
6.2.1
Transcendental Aesthetic
. 115
6.2.2
Transcendental Logic
. 116
6.2.3
Transcendental Analytic
. 116
6.2.4
Transcendental Dialectic
. 117
6.3
Kant on Moral Conduct: The Critique of Practical Reason
. 117
6.4
Function of the Third Critique
. 119
6.5
Kant on Beauty: Toward a Critique of the Judgment of Taste
. 120
6.5.1
Disinterested Satisfaction
. 121
6.5.2
Not Understanding but Feeling Is Important
. 121
6.5.3
Purposiveness Without Purpose
. 123
6.5.4
"Common Sense"
. 125
6.6
Kant on the Sublime and Artistic Genius
. 127
6.7
Kant as Synthesis and Axis
. 130
6.8
Objections to Kant
. 131
Further Reading
. 133
Part II Art in a Historical and Social Perspective
7
'The End of Art': The Contemporary Interest in Hegel
. 139
7.1
Introduction
. 139
7.2
The Place and Function of Art in Hegel's Philosophy:
The Absolute Spirit
. 141
7.2.1
The Spirit Becoming Self-conscious
. 142
7.2.2
The Objective Spirit
. 142
7.2.3
The Absolute Spirit
. 143
7.2.4
Art as the Lowest Level of the Absolute Spirit
. 144
7.3
Hegel's Aesthetics: Art as the Sensuous Semblance
of the Idea
. 144
7.3.1
Art as Necessary Semblance
. 145
7.3.2
Artas
the Intuition of the Idea
. 145
7.3.3
The Difference Between the Beauty of Nature
and the Beauty of Art
. 145
7.3.4
Criticizing Kant
. 146
7.4
Hegel on the History of Art
. 148
7.4.1
Symbolic Art
. 148
7.4.2
Classical Art
. 149
7.4.3
Romantic Art
. 149
7.4.4
Historical Division of Different Arts
. 150
7.5
'The End of Art'
. 151
7.5.1
Skepticism with Regard to Hegel's Thesis
. 152
7.6
Danto in
the Wake of Hegel: The End of Art
. 153
7.6.1
The Importance of Philosophy of Art
. 153
Contents xix
7.6.2
The Importance of Historical Consciousness
. 154
7.7
The Artist's Studio: Marcel Duchamp and "The End of Art"
. 157
7.8
Critical Reflections
. 160
Further Reading
. 163
8
Art and Society: A Neomarxist Perspective
. 167
8.1
Introduction
. 167
8.2
Georg
Lukács'
Defense of Classical Realism
. 169
8.2.1
Alienation
. 170
8.2.2
Fetishism of Commodities
. 171
8.2.3
Defense of Classical Realism
. 171
8.2.4
Realism Versus Naturalism
. 172
8.2.5
Condemnation of Modernism
. 174
8.3
Objections Against
Lukács:
The Expressionism
and Realism Debate
. 174
8.3.1
Brecht
Contra
Lukács
. 175
8.3.2
Adorno
Contra
Lukács.
177
8.4
Adorno's Defense of Modernism
. 179
8.4.1
Relative Autonomy of the Work of Art
. 180
8.4.2
Modern Art as Critique
. 181
8.5
Walter Benjamin on the Technical Reproducibility of Art
. 184
8.5.1
The Aura Concept
. 185
8.5.2
Disenchantment
. 186
8.5.3
Revolutionary Potential
. 188
8.6
Adorno
Contra Benjamin and the Culture Industry
. 189
Further Reading
. 190
Part III The Language of Art: From Phenomenology
to Poststructuralism
9
The Phenomenological Perspective
. 197
9.1
Introduction
. 197
9.2
Heidegger and the Origin of the Work of Art
. 201
9.2.1
Circular Course
. 202
9.2.2
Oblivion of the Thing
. 204
9.2.3
Van Gogh's Shoes
. 206
9.2.4
Battle Between World and Earth
. 208
9.2.5
The Inscrutability of the Thing as Such
. 209
9.2.6
Art and Truth Art as
Dichtung. 210
9.3
Merleau-Ponty on
Perception in Art
. 212
9.3.1
The Subject as Body
. 213
9.3.2
The Primacy of Seeing
. 214
9.3.3
Original Unity
. 215
9.3.4
The Magic of Seeing
. 216
xx
Contents
9.3.5
The Autonomy of the Painting
. 217
9.3.6
Creative Expression
. 217
9.3.7
Truth and the Art of Painting
. 218
9.3.8
Language and the Art of Painting
. 219
9.4
The Artist's Studio: Paul Cezanne's Doubt
. 220
9.4.1
Beyond Impressionism
. 221
9.4.2
Original Experience
. 222
9.4.3
Phenomenology of the Painting
. 223
9.4.4
Creative Expression
. 225
9.4.5
Truth and the Art of Painting
. 225
Further Reading
. 227
10
The Modern Version of Formalism: The
Semiotic
Point of View
. 229
10.1
Introduction
. 229
10.2
Fundamental Concepts of Semiotics
. 232
10.2.1
Distinction Between
Langue
and Parole
. 232
10.2.2
Distinction Between
Signifiant
and
Signifié
. 232
10.2.3
Distinction Between Denotation and Connotation
. 233
10.2.4
Distinction Between Manifest and Immanent
. 234
10.3
Roland Barthes on Mythology
. 235
10.3.1
The Myth as Speech
. 236
10.3.2
The Myth as
Semiotic
System
. 236
10.3.3
The Form and the Concept
. 238
10.3.4
The Myth as Stolen Language
. 238
10.3.5
The Myth as Depoliticized Speech
. 240
10.3.6
The Mythologist as Outsider
. 240
10.4
The Artist's Studio: Narrative Structures
in Classical Hollywood Cinema
. 241
10.4.1
Social Determinateness
. 242
10.4.2
Structural Analysis
. 243
10.4.3
Time and Space
. 244
10.4.4
Evaluation
. 245
Further Reading
. 246
11
The Post-structuralist Perspective
. 249
11.1
Introduction
. 249
11.2
Lyotard on the Postmodern Condition
. 252
11.2.1
Modernity Versus Post-modernity
. 252
11.2.2
Legitimization Crisis
. 252
11.2.3
Modern Versus Postmodern Modes
of Knowledge
. 254
11.2.4
Lyotard and the Kantian Turn
in Postmodern Thinking
. 256
Contents xxi
11.2.5
Towards an Aesthetics of the Sublime:
Art as "Presenting the Unpresentable"
. 258
11.2.6
Objections to Lyotard
. 261
11.3
Critique of Representation: Jacques Derrida
. 263
11.3.1
Intertextuality
. 263
11.3.2
Deconstruction
. 264
11.3.3
Logocentrism
. 264
11.3.4
Displacement
. 265
11.3.5
Critique of Mimesis
. 265
11.3.6
The Thinking of Difference
. 266
11.3.7
Derrida and Art: The
Parergon
. 270
11.4
Jean
Baudrillard
on the World as Simulacrum
. 276
11.4.1
Modernity Versus Post-modernity
. 277
11.4.2
The Primacy of the
Signifier
. 278
11.4.3
The Logic of the Simulacrum
. 279
11.4.4
Baudrillard: Aesthetic Vision
. 281
11.5
Jameson in the Wake of Baudrillard
. 281
11.5.1
Stages of Development
. 282
11.5.2
Postmodernism Versus Modernism
. 283
11.5.3
The Fading Boundary Between High and Low Art
. 284
11.5.4
The New Depthlessness
. 284
11.5.5
The Waning of Emotion
. 286
11.5.6
The Era of the Simulacrum
. 286
11.6
The Artist's Studio: The Video Clip as Postmodern Art
. 287
Further Reading
. 290
12
Epilogue
. 295
12.1
Mimesis
. 295
12.2
The Kantian Turn
. 297
12.3
The End of Art? The Kantian Versus the Hegelian Paradigm
. 298
Name Index
. 301
Subject Index
. 305 |
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spelling | Braembussche, Antoon van den 1946- Verfasser (DE-588)112289754 aut Denken over kunst : een inleiding in de kunstfilosofie Thinking art an introduction to philosophy of art [Berlin u.a.] Springer 2009 XXI, 310, [16] S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Aus dem Niederländ. übers. KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022896223&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
spellingShingle | Braembussche, Antoon van den 1946- Thinking art an introduction to philosophy of art |
title | Thinking art an introduction to philosophy of art |
title_alt | Denken over kunst : een inleiding in de kunstfilosofie |
title_auth | Thinking art an introduction to philosophy of art |
title_exact_search | Thinking art an introduction to philosophy of art |
title_full | Thinking art an introduction to philosophy of art |
title_fullStr | Thinking art an introduction to philosophy of art |
title_full_unstemmed | Thinking art an introduction to philosophy of art |
title_short | Thinking art |
title_sort | thinking art an introduction to philosophy of art |
title_sub | an introduction to philosophy of art |
url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022896223&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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