Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)

Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)

Language: English

Pages: 256

ISBN: 1474222935

Format: PDF / Kindle (mobi) / ePub


Whether art can be wholly autonomous has been repeatedly challenged in the modern history of aesthetics. In this collection of specially-commissioned chapters, a team of experts discuss the extent to which art can be explained purely in terms of aesthetic categories.

Covering examples from Philosophy, Music and Art History and drawing on continental and analytic sources, this volume clarifies the relationship between artworks and extra-aesthetic considerations, including historic, cultural or economic factors. It presents a comprehensive overview of the question
of aesthetic autonomy, exploring its relevance to both philosophy and the comprehension of specific artworks themselves. By closely examining how the creation of artworks, and our judgements of these artworks, relate to society and history, Aesthetic and Artistic Autonomy provides an insightful and sustained discussion of a major question in aesthetic philosophy.

Peripheral (Post) Modernity: The Syncretist Aesthetics of Borges, Piglia, Kalokyris and Kyriakidis

Aesthetics from Classical Greece to the Present

Music at the Limits

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

intentions, of which this vision is a function. Hence, it may seem that one can only make sense of a work embodying an artist’s ‘vision’ if we can relate it to the depth of iconographical and iconological factors which are implied therein. Indeed, (the argument may continue) ‘vision’ in any viable philosophical sense is not a wholly private matter. It is a function of complex sets of relationships between an individual and his or her immediate social environment. Again, therefore, in denying the

perceive the same properties that Sally’s and Bill’s experiences are qualitatively identical. It also does not follow that they are both aesthetic. So I conclude that it is not the case that whenever Sally and Bill take in the same properties in an object, if Bill is having an aesthetic experience, so is Sally. Therefore, Gaut’s second objection to my proposal is also not convincing. I conclude that Gaut has not shown that aesthetic value should be equated with artistic value. However, is there

National Convention. On 16 October he unveiled the painting to fellow artists outside the Louvre. An early response showed the impact it had: The expressed horror … permeates the whole canvas, which proves that the forceful and skilful touch of the artist would not have been sufficient in itself; it needed that ardent love of country that impassions the artist … it is difficult to look on it for any length of time, its effect is so powerful.4 David formally presented the painting to the

disinterestedness and the art/life distinction levelling gesture implicit in a certain strand of Deweyan aesthetics.24 But it is equally a mythic gesture. For its backdrop is a fundamental mythic theme of social and political critiques since Romanticism: the idea of how modern experience, caught in the crucible of the complex encounters among Judaeo-Christian religion and rising modern science, secular society and industrialization, is an experience of homelessness, fragmentation and

the exposition. The governing structure of the sonata form, then, is negated by virtue of a frustration of the immediate relationship between the development and recapitulation through Beethoven’s insertion of an unanticipated new theme. This refusal of conformity to pre-established musical form is understood by Adorno as not merely aesthetically innovative, but rather critical of the socio-epistemic principle of ‘logical identity’.14 Adorno also associates the critique of society with

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