Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy)

Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy)

Robert Stecker

Language: English

Pages: 328

ISBN: 0742564118

Format: PDF / Kindle (mobi) / ePub

Praised in its original edition for its up-to-date, rigorous presentation of current debates and for the clarity of its presentation, Robert Stecker's new edition of Aesthetics and the Philosophy of Art preserves the major themes and conclusions of the original, while expanding its content, providing new features, and enhancing accessibility. Stecker introduces students to the history and evolution of aesthetics, and also makes an important distinction between aesthetics and philosophy of art. While aesthetics is the study of value, philosophy of art deals with a much wider array of questions including issues in metaphysics, epistemology, the philosophy of mind, as well value theory. Described as a 'remarkably unified introduction to many contemporary debates in aesthetics and the philosophy of art,' Stecker specializes in sympathetically laying bear the play of argument that emerges as competing views on a topic engage each other. This book does not simply present a controversy in its current state of play, but instead demonstrates a philosophical mind at work helping to advance the issue toward a solution.

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argument. This is because having a capacity to bestow a benefit is just as much an instrumentally valuable property of artworks as the property of producing a benefit. Drinking milk provides nutrition to the body. Milk is such as to be conducive to providing this nutrition when drunk. That is, milk has the capacity to have this effect. Does this imply that drinking milk is instrumentally valuable but milk is intrinsically valuable? Such a claim is absurd. Artworks often have the capacity to

the former is caused by an involvement with the latter. We have still identified an instrumental value of art, something we value art for giving us.7 Unique Value There is another source that motivates essentialism about artistic value: fear—fear, in particular, that the valuable properties artworks offer could be offered by other things. If so, it is conceivable that these other things might do a better job at offering these valuable properties, and thus art could be replaced,

of literature. Zangwill, Nick. 1995. “The Beautiful, the Dainty, and the Dumpy.” British Journal of Philosophy, 35:317–29. Argues for the diversity of artistic value. chapter twelve v Interaction Ethical, Aesthetic, and Artistic Value In the eighteenth-century novel A Sentimental Journey through France and Italy, Laurence Sterne gives us a portrait of a good man that, for once, is far from boring. It’s really funny due to the situations in which a good man

base,” as Levinson also puts it. However, it is this very complexity that raises some doubt about the conception. To confine the discussion to just one of these doubts, does one always have to apprehend how the quality of one’s experience arises from a structural base? What does such a base consist in when one aesthetically experiences a sunset? There just does not seem to be lower level perceptual features from which the experience arises in this case, distinct from those directly

situation occurs with prototype theory, which is also based on relevant resemblance, though this time it is to the prototype. The last cause for skepticism is also based on the idea that what we are trying to define is the concept of art. The claim this time is, not that concepts have a particular structure that rules out that they are definition, but rather that the concept of art has become fragmented. There just isn’t one thing to define anymore. There is no one concept to capture. People

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