An introduction to the philosophy of art:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
Cambridge Univ. Press
2014
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| Ausgabe: | 2. ed. |
| Schriftenreihe: | Cambridge introductions to philosophy
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references (pages 289-303) and index |
| Beschreibung: | XII, 312 S. 26 cm |
| ISBN: | 9781107041691 9781107614444 |
Internformat
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Datensatz im Suchindex
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| adam_text | Titel: An introduction to the philosophy of art
Autor: Eldridge, Richard Thomas
Jahr: 2014
Contents Acknowledgments page viii Preface to the second edition xi 1 The situation and tasks of the philosophy of art 1 Who needs a theory of art? 1 Philosophy as articulation 4 Art as a natural social practice 5 Action, gesture, and expressive freedom 7 Schiller on art, life, and modernity 12 Identification versus elucidation 17 What may we hope for from the philosophy of art? 21 2 Representation, imitation, and resemblance 25 Representation and aboutness 25 Aristotle on imitation 26 Visual depiction, resemblance, and game-playing 31 Contemporary theories of depiction 38 Representing as natural, human, world-responsive activity 44 Distinctive functions of artistic representation 47 3 Beauty and form 53 Beauty, absorption, and pleasure 53 Kant on natural and artistic beauty 57 General versus individual form 62 Beardsley’s theory of individual form 63 Criticisms of formalist-aesthetic theories of art 67 Defenses of the aesthetic interest of art 70 4 Expression 75 Feelings about subject matters in life: Wordsworth, Tolstoy, and Collingwood 75 What is expressed in art? Hegel versus Danto 82 v
vi Contents How is artistic expression achieved? 92 Collingwood s psychodynamic theory 93 Physiognomic similarity theories 98 “Working-through theories 103 Emotions and contemporary psychology 104 Why does artistic expression matter? 109 5 Originality and imagination 115 Genius and the pursuit of the new: Kant 115 Hegel’s criticisms of subjectivism 120 Why originality matters: Adorno on free meaning-making 122 Criticisms of the pursuit of originality: postmodernism and feminism 127 Originality and imagination within common life 132 Creativity: Scruton and Coleridge on artistic imagination 135 6 Understanding art 142 Six strategies for understanding art 142 The natures of thought and action: Hegel, Baxandall, and others 145 Pluralism and constraint in interpretation: Abrams, Fish, and Derrida 150 The special importance of the elucidation of formal-semantic elements 156 Nehamas and Felski on what calls for elucidatory interpretation 160 The possibility of agreement in understanding 163 7 Identifying and evaluating art 167 Why we go on arguing about which works are good 167 Subjectivism and the sociology of taste: Smith and Bourdieu 170 Dickie’s institutional theory 173 Historical and narrative identifications: Levinson and Carroll 176 Objectivism: Mothersill and Savile 178 Hume on feeling and judgment 182 Kant on feeling and judgment 187 Personal and/versus discussable: Isenberg, Scruton, and Cohen on taste 196 8 Art and emotion 200 Some varieties of emotional response 200 The paradox of fiction 202 Hume on tragedy: denying (1) 204 Making-believe and quasi-emotions: Walton, Levinson, and Feagin 207 Robinson on affective appraisals: denying (3) 213
Contents vii Danto and Cohen on powers of attentive involvement 214 Aristotle on catharsis 218 Artistic making and the “working through” of emotion 221 9 Art and morality 225 Some controversial cases: Mapplethorpe, Serrano, Finley, and others 225 Autonomism and experimentalism 227 Moralism and the clarification of thought and feeling 234 Clarificationism and responding to complexity 237 Art, propaganda, advertising, and cliché 244 Ethical understanding and working through puzzlement 247 10 Art and society: some contemporary practices of art 253 The reproduction of social life vis-à-vis “infinite satisfaction” 253 Art and modernity: Schiller and others 255 Lukács, Marcuse, and Adorno 261 Structuralism and structural opposition in social life: Lévi Strauss and Althusser 263 Foster’s postmodern sociocultural criticism 267 Avant-gardism and contemporary art 268 Can artistic beauty still matter? What about fun? 271 Art and social aspiration 272 Some contemporary practices of art: primitivism, vernacularism, avant-gardism, and constructivism 274 11 Epilogue: the evidence of things not seen 284 Bibliography Index 289 304
|
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| spelling | Eldridge, Richard Thomas 1953- Verfasser (DE-588)136251552 aut An introduction to the philosophy of art Richard Eldridge 2. ed. Cambridge Cambridge Univ. Press 2014 XII, 312 S. 26 cm txt rdacontent n rdamedia nc rdacarrier Cambridge introductions to philosophy Includes bibliographical references (pages 289-303) and index Philosophie Ästhetik Arts Philosophy Aesthetics Philosophie (DE-588)4045791-6 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Ästhetik (DE-588)4000626-8 gnd rswk-swf 1\p (DE-588)4151278-9 Einführung gnd-content Ästhetik (DE-588)4000626-8 s DE-604 Kunst (DE-588)4114333-4 s Philosophie (DE-588)4045791-6 s 2\p DE-604 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027465289&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
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| title | An introduction to the philosophy of art |
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| title_full | An introduction to the philosophy of art Richard Eldridge |
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| title_short | An introduction to the philosophy of art |
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