Artistic Judgement A Framework for Philosophical Aesthetics /

• Κύριος συγγραφέας: McFee, Graham (Συγγραφέας)
• Συγγραφή απο Οργανισμό/Αρχή: SpringerLink (Online service)
• Μορφή: Ηλεκτρονική πηγή Ηλ. βιβλίο
• Γλώσσα: English
• Έκδοση: Dordrecht : Springer Netherlands, 2011.
• Σειρά: Philosophical Studies Series ; 115
• Θέματα: Philosophy.; Arts.; Aesthetics.

Artistic Judgement sketches a framework for an account of art suitable to philosophical aesthetics. It stresses differences between artworks and other things; and locates the understanding of artworks both in a narrative of the history of art and in the institutional practices of the art world. Henc...

Πίνακας περιεχομένων:

• Preface
• Chapter One: The Artistic and The Aesthetic: A Distinction Considered. - 1.1 A crucial distinction
• 1.2 Transfiguration and artistic properties- 1.3 Some corollaries of the distinction
• 1.4 Contrasting views of the aesthetic
• 1.5 The artistic as sensuous?- 1.6The ‘ambiguity’ of artistic properties
• 1.7 An example: the case of Marla
• 1.8 Exploring the contrast: methodology
• 1.9 Outline of this work
• 1.10 On not defining art
• Chapter Two: Art, Meaning and Occasion-Sensitivity
• 2.1 Meaning meaning
• 2.2 Exceptions (a): dealing with defeasibility
• 2.3 Exceptions (b): disambiguation?- 2.4 An occasion-sensitive view of meaning and understanding
• 2.5 Contextualism in philosophical aesthetics
• 2.6 Competent judges
• 2.7 Meaning, explaining, and artistic properties
• 2.8 Meaning, explanation and content
• 2.9 The context of philosophical aesthetics
• Chapter Three: Art and Life-Issues: Meeting Counter-Cases
• 3.1 Artistic value and life-issues
• 3.2 Life-issues connection to artworks?- 3.3 The importance of life-issues
• 3.4. Learning from art?- 3.5 Art and moral value: moderate moralism, ethicism
• 3.6 A seven-part strategy
• 3.7 Literary value and moral understanding: Nussbaum
• 3.8 A conflict between morality and art?- 3.9 Conclusion
• Chapter Four: Intention, Authorship and Artistic Realism
• 4.1 The intention of the artist
• 4.2 Excursus: Hypothetical intentionalism and its discontents
• 4.3 The embodiment of artistic meaning
• 4.4 Making meaning: the concept “art”
• 4.5 Making sense: ‘history of production’
• 4.6 Response-reliance and artistic properties
• 4.7 Understanding and criticism
• 4.8 Criticism and inference
• 4.9 The ‘reality’ of artistic properties
• Chapter Five: The Historical Character of Art
• 5.1 Precursors and the past
• 5.2 Art, change of meaning and standard historicism
• 5.3 Forward retroactivism, and the threat of misperception
• 5.4 Are these genuine properties?- 5.5 Reasons and ‘new evidence’
• 5.6 Are these new properties?- 5.7 Making sense of the past
• 5.8 Oeuvre, action and understanding
• 5.9 Genre and artistic intention
• 5.10 An argument against any historicism
• 5.11 Historical character and understanding — some realism
• Chapter Six: The Republic of Art: A Plausible Institutional Account of Art?- 6.1 The idea of an institutional concept
• 6.2 Sketch of an institutional account of art
• 6.3 A more plausible (than Dickie’s) account of art
• 6.4 Topics for criticism
• 6.5 Does Dickie’s later theory fare better?- 6.6 Wollheim’s criticism
• 6.7 Critical reflections
• 6.8 Can the institution be wrong?- 6.9 The Friends of Jones. 6.10 What the account offers. Chapter Seven: Conclusion
• 7.1 The framework: a summary
• 7.2 The aesthetic reconsidered
• 7.3 Envoi: The Muscular Aesthetic.