Philosophy of Art: A Contemporary Introduction (Routledge Contemporary Introductions to Philosophy)
Philosophy of Art is a textbook for undergraduate students interested in the topic of philosophical aesthetics.
It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art.
Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way enriching the readers understanding of art theory as well as the appreciation of art.
Unique features of the textbook are:
* chapter summaries
* summaries of major theories of art and suggested analyses of the important categories used when talking and thinking of art
* annotated suggested readings at the ends of chapters.
Also available in this series:
Epistemology Pb: 0-415-13043-3: £12.99
Ethics Pb: 0-415-15625-4: £11.99
Metaphysics Pb: 0-415-14034-X: £12.99
Philosophy of Mind Pb: 0-415-13060-3: £11.99
Philosophy of Religion Pb: 0-415-13214-2: £12.99
Practical activity, such as ethics. Philosophy begins when the people involved in the relevant practices become selfconscious—when they begin to wonder about just what it is that they are doing or just what they are really talking about. That is, each one of these practices organizes its field of operation in terms of certain concepts, which are applied according to certain criteria. In addition, each of these practices employs certain recurrent modes of reasoning—certain ways of connecting.
Of the clarification and transmission of emotions be secured by means of lines, shapes, colors, sounds, actions and/or words. This guarantees that an artwork is, at least in principle, publicly accessible—that it is embodied in some publicly accessible medium. Here, it is useful to note that rather than stating this requirement in ART AND EXPRESSION 65 terms of artistic media, it has been stated more broadly in terms of publicly accessible media—lines, colors, shapes, sounds, actions and/or.
Need to look at it in greater detail. Stated more expansively, the argument contends: 1 2 3 4 5 6 If artworks (and parts of artworks) possess expressive properties, they do so either literally or metaphorically, (premise) If artworks (and parts of artworks) possess expressive properties literally, they must the kinds of things that can bear mental properties. (premise) Artworks (and parts of artworks) are not the kind of things that can bear mental properties, (premise) Therefore, artworks (and.
Art. This provides a reason to return to the suggestion, first broached by the NeoWittgensteinians, that perhaps the method we employ for identifying artworks is not an essential definition, but something else. After all, we do manage to identify artworks with an amazingly high degree of agreement. How do we do it? What governs our classification of candidates as artworks? In Part III of Chapter 5, historical narration is advanced as the primary way in which we sort artworks from other things.
Theorist is apt to say that we have misunderstood what he means by unity, diversity, and intensity. These are to be conceived of as aesthetic properties, not as brute properties of objects. They are properties of the appearance of objects. Hills covered with green trees may strike us as soft and downy as we drive past them; this is how they impress us and creatures like us. But such hills and trees are not soft— when you get close to them, they are rough and scratchy. Rather, they appear to be.