Philosophy of Art: A Contemporary Introduction (Routledge Contemporary Introductions to Philosophy)

Philosophy of Art: A Contemporary Introduction (Routledge Contemporary Introductions to Philosophy)

Language: English

Pages: 288

ISBN: 0415159644

Format: PDF / Kindle (mobi) / ePub

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

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a sufficient condition for representation can also be shown by contemplating the logical structure of resemblance versus the logical structure of representation. Resemblance is a reflexive relation. That means that if x is related to x (if x is related to itself in a certain way), then x is related to x (itself) in the same way (xRx if and only if xRx). Resemblance is like mathematical equality in this respect, since “If 1 =1, then 1=1.” But representation is not reflexive: I resemble myself in

artist were absolutely unintelligible to anyone else, why would we take it to be an artwork? Perhaps this is the truth behind the requirement of an intended audience. Second, if the poem were written in a completely private language, one wonders whether it would be accessible even to the poet. How could he recall what it truly meant from one reading to the next, if his language were genuinely private? And if the poem is accessible to neither the poet nor anyone else, is his composition really

a counterexample, since the list is in words. But the list is not the artwork—the thoughts were. Moreover, at the same time, the artwork is not inaccessible—we can contemplate it—through the artist’s report of what she did (mentally). Thus, the work is accessible, though it is not, strictly speaking, in any physical medium—let’s say her thoughts were not verbal, but are merely described rather than transcribed by her list. If such works are art, then it is not the case that artworks require

This is neither a matter o f d e f i n i t i o n s n o r o f w h a t t h e N e o - Wi t t g e n s t e i n i a n s c a l l f a m i l y resemblances. In fact, this solution to the unavoidable philosophical question of the way in which we identify artworks is a pet idea of the present author. On the one hand, it may appear cheeky to you that I should conclude this book with my own brainchild; on the other hand, it is one of the perks of spending all this time writing the book. And, in any case, I do

m ay a l s o p o s s e s s v a r i o u s p r o p e r t i e s — l i k e s a d n e s s a n d gracefulness—in varying intensities. A work may be extremely joyous or only mildly so. It may appear hectic or delicate, implacable or strong in different degrees. Attending to the aesthetic properties of the work, discriminating their variable intensities, is an aesthetic experience of the work. It is an experience of the qualitative dimension of the work as it offers itself in appearance. And since these

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