Philosophy of the Arts An Introduction to Aesthetics

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PHILOSOPHY OF THE ARTS, The new edition of Philosophy of The Arts provides one of the most. comprehensive and pellucid introductions to aesthetics on the market. Andy Hamilton Durham University UK, Philosophy of The Arts presents a comprehensive and accessible introduc. tion to those coming to aesthetics and the philosophy of art for the rst time. The third edition is greatly enhanced by new chapters on art and beauty the. performing arts and modern art and new sections on Aristotle Hegel and. Nietzsche All other chapters have been thoroughly revised and extended. This new edition, is jargon free and will appeal to students of music art history literature. and theatre studies as well as philosophy, looks at a wide range of the arts from lm painting and architecture to. literature music dance and drama, discusses the philosophical theories of major thinkers including Aristotle.
Hume Hegel Nietzsche Croce Collingwood Gadamer and Derrida. includes regular summaries and suggestions for further reading. Gordon Graham is Henry Luce III Professor of Philosophy and the Arts at. Princeton Theological Seminary He was formerly Regius Professor of. Moral Philosophy at the University of Aberdeen in Scotland He is the. author of Eight Theories of Ethics and The Internet A Philosophical. Inquiry both published by Routledge,PHILOSOPHY OF,An introduction to aesthetics. Third Edition,Gordon Graham,First published 1997,Second edition published 2000. Third edition published 2005,by Routledge,2 Park Square Milton Park Abingdon Oxon OX14 4RN. Simultaneously published in the USA and Canada,by Routledge. 270 Madison Ave New York NY 10016, Routledge is an imprint of the Taylor Francis Group.
This edition published in the Taylor Francis e Library 2005. To purchase your own copy of this or any of Taylor Francis or Routledge s. collection of thousands of eBooks please go to www eBookstore tandf co uk. 1997 2000 2005 Gordon Graham, All rights reserved No part of this book may be reprinted or. reproduced or utilized in any form or by any electronic. mechanical or other means now known or hereafter, invented including photocopying and recording or in any. information storage or retrieval system without permission in. writing from the publishers,British Library Cataloguing in Publication Data. A catalogue record for this book is available from the. British Library, Library of Congress Cataloging in Publication Data. Graham Gordon 1949 July 15, Philosophy of the arts an introduction to aesthetics Gordon.
Graham 3rd ed,Includes bibliographical references and index. 1 Aesthetics I Title,BH39 G67 2005,111 85 dc22 2005002568. ISBN 0 203 69622 0 Master e book ISBN,ISBN 0 415 34978 8 hbk. ISBN 0 415 34979 6 pbk,In memory of,Christina Marie Kennedy 1974 97. to whom these questions mattered,Preface to the Third Edition xi.
Introduction 1,1 ART AND PLEASURE 3,Hume on taste and tragedy 3. Collingwood on art as amusement 6,Mill on higher and lower pleasures 8. The nature of pleasure 12,2 ART AND BEAUTY 14,Beauty and pleasure 14. Kant on beauty 16,The aesthetic attitude and the sublime 19. Art and the aesthetic 21,Gadamer and art as play 23.
Art and sport 26,Summary 29,3 ART AND EMOTION 31,Tolstoy and everyday expressivism 31. Aristotle and katharsis 35,Expression and imagination 37. Croce and intuition 38,Collingwood s expressivism 41. Expression vs expressiveness 44,Summary 50,4 ART AND UNDERSTANDING 52. Hegel art and mind 52,Art science and knowledge 54.
Aesthetic cognitivism for and against 58,Imagination and experience 62. The objects of imagination 65,Art and the world 68. Understanding as a norm 70,Art and human nature 73. Summary 74,5 MUSIC AND SONIC ART 76,Music and pleasure 76. Music and emotion 79,Music as language 83,Music and representation 86.
Musical vocabulary and musical grammar 88,The uniqueness of music 92. Music and beauty 93,Music as the exploration of sound 95. Sonic art and digital technology 97,Summary 101,6 THE VISUAL ARTS 103. What is representation 104,Representation and artistic value 105. Art and the visual 108,Visual art and the non visual 113.
Film as art 116,Montage vs long shot 118,Talkies 120. The auteur in lm 123,Summary 126,7 THE LITERARY ARTS 127. Poetry and prose 127,The unity of form and content 130. Figures of speech 132,Expressive language 134,Poetic devices 135. Narrative and ction 140,Literature and understanding 145.
Summary 147,8 THE PERFORMING ARTS 149,Artist audience and performer 149. Painting as the paradigm of art 150,Nietzsche and The Birth of Tragedy 154. Performance and participation 157,The art of the actor 160. Summary 162,9 ARCHITECTURE AS AN ART 164,The peculiarities of architecture 165. Form function and the decorated shed 169,Fa ade deception and the Zeitgeist 171.
Functionalism 174,Formalism and space 175,Architectural expression 178. Architecture and understanding 180,Summary 181,10 MODERN ART 183. The break with tradition 183,Experimental art and the avant garde 185. The art of the readymade 188,Conceptual art 191,The market in art 193. Art and leisure 195,Summary 198,11 THE AESTHETICS OF NATURE 200.
Objectivism vs subjectivism 200,Art and interpretation 203. The artist s intention and the intentional fallacy 207. The aesthetics of nature 213,Summary 218,12 THEORIES OF ART 221. De ning art 221,Art as an institution 228,Marxism and the sociology of art 230. L vi Strauss and structuralism 235,Derrida deconstruction and postmodernism 238. Normative theory of art 243,Summary 248,Finding examples 251.
Bibliography 252,Preface to the Third Edition, The rst edition of Philosophy of The Arts appeared in 1997 with a second. revised edition appearing in 2000 From the start I have had the bene t of a. large number of comments from teachers students readers and reviewers. The publisher s suggestion of a third edition has now allowed me to take. account of most of them but the list of people to whom I owe a debt has. grown too long to detail Continued thanks are due to staff at Routledge. who have promoted the book with both enthusiasm and success. This third edition is a more major revision than the second It includes. a further two new chapters Chapters 8 and 11 and what was Chapter 1. in both previous editions has been split into two to allow the material on. Kant to be expanded All the other chapters have been rewritten and new. material added to most of them, Early versions of some of the themes I discuss were published in papers. in the British Journal of Aesthetics the Journal of Aesthetic Education the. Journal of Aesthetics and Art Criticism the Journal of Value Inquiry Ends. and Means the Oxford Handbook of Aesthetics and the Routledge Com. panion to Aesthetics All of the material I have used from these papers has. been extensively rewritten,Gordon Graham,King s College Aberdeen. October 2004,Introduction, The arts are an important part of human life and culture They attract a. large measure of attention and support from states commercial companies. and the public at large But what makes something art and why should we. value it These are practical questions for civil servants charitable trusts. private sponsors and educational establishments They are also theoretical. questions with which philosophers have been concerned for more than. 2 000 years Over that long period a number of important answers have. been developed and explored and the purpose of this book is to introduce. newcomers to the eld of aesthetics and art theory to both the problems. and their resolution Philosophy of art is simply an attempt to answer these. questions in a sustained and coherent way while drawing upon the thinking. of the major philosophers who have devoted most attention to them My. intention however is not just to provide a textbook for students of phil. osophy The book also aims to demonstrate to anyone who reads it student. or non student that philosophy of art or aesthetics is directly relevant to. the study appreciation and practice of the arts, Philosophers are not the only people to develop theories of art Sociolo.
gists musicologists art critics and literary theorists have done so as well But. what philosophy has to say on these topics is especially relevant to any serious. thinking about the value and importance of art At the same time it becomes. lifelessly abstract if it is too far removed from the arts themselves That is. why after four chapters on general themes the book divides into chapters. expressly devoted to particular art forms including for the rst time in this. edition the performing arts The idea is to stimulate an interest in philosophy. among those whose principal motivation for approaching these topics is a. love of music painting lm literature drama dance or architecture Chap. ter 10 considers at length some recent developments especially in the plastic. arts and addresses a common concern about modern art is it art at all. while Chapter 11 investigates the topical subject of environmental aesthetics. The nal chapter of the book explores more complex issues of art theory and. in particular the Marxist structuralist and postmodern approaches to art. One special dif culty about focusing on the speci c rather than the general. INTRODUCTION, is this we can only talk meaningfully about paintings poems symphonies. and so on if quite literally we know what we are talking about This means. that the reader needs to be familiar with the illustrative examples and it is. impossible to be sure of this in advance So far as I can I have used the very. best known examples of artworks for example the Mona Lisa Beethoven s. Ninth Symphony Charles Dickens s Bleak House etc but sometimes less. well known examples illustrate the point at issue better Happily this dif. culty is much less great than it was with the rst edition because of the. internet which has become a hugely valuable resource for this purpose. In addition to a complete bibliography there is a list of websites where. collections of artworks including music will be found. Suggestions for further reading have also been reorganized for this edi. tion At the end of each chapter I have identi ed more advanced introduc. tory reading classic writings and major contemporary studies With one or. two exceptions the advanced introductory reading is taken from two books. that have appeared since the rst edition was published the Routledge. Companion to Aesthetics now in its second edition and the Oxford Hand. book of Aesthetics both of which are accessible comprehensive and authori. tative So far as is possible I have identi ed classic writings from the past. but in a few cases included more recent works All of them have been the. focus of widespread discussion A third category aims to draw attention to. major and important contemporary works though inevitably this is a tiny. selection out of all the available choices The bibliography at the end. includes full details of all these publications together with works cited in. the text In addition it lists other books and articles that will be of interest. to readers following up the topics of the different chapters. There are a good many introductions to the philosophy of art and several. more since the rst edition of this one The distinctive feature of mine is its. focus on the value of art and the exploration of normative issues in the. context of speci c art forms as well as the aesthetic appreciation of nature. This approach rests upon an assumption that it is better for the philosopher. of art to investigate the question of art s value than to try to arrive at a. de nition of art an assumption defended at length in the nal chapter I have. put this defence at the end of the book because though it is logically prior. and philosophically crucial to the cogency of my approach a reader whose. interest is primarily in matters artistic can usefully read the book up to that. point without going on to engage directly with the rather more abstract. philosophical issues involved in defending a normative approach. The third edition covers several topics that the rst and second did not. Despite these additions however some interesting questions in aesthetics. have inevitably been omitted This is unavoidable because typically phil. osophy raises more questions than it answers The point of an introduction. is not to provide a de nitive set of solutions to a designated set of problems. but to start the mind of the reader on an exploratory journey of its own. Philosophy of The Arts presents a comprehensive and accessible introduc tion to those coming to aesthetics and the philosophy of art for the rst time The third edition is greatly enhanced by new chapters on art and beauty the performing arts and modern art and new sections on Aristotle Hegel and Nietzsche All other chapters have been

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