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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Aesthetics and the Philosophy of Art Elements of Philosophy The Elements of Philosophy series aims to produce core introductory texts in the major areas of philosophy, among them metaphysics, epistemology, ethics and moral theory, philosophy of religion, philosophy of mind, aesthetics and the philosophy of art, feminist philosophy, and social and political philosophy. Books in the series are written for an undergraduate audience of second- through fourth-year students

much. Shouldn’t the explanation of point of view tell us why we imagine seeing those objects from that point of view? Why we see-in the picture objects arrayed in the pictorial space in a certain way? This explanation perhaps comes down to identifying the perspective (e.g., linear, orthogonal, oblique) in which the picture is made and the viewer’s tacit grasping of this perspective. 12. Hyman (2000) does employ objective outline shape (or “occlusion shape” as he calls it) along with two

content of emotions, something many believe music to be incapable of doing. Third, the view also does not require that anyone—either composer or listener—actually be in an emotional state, something many believe not to be requisite for music to be expressive. Fourth, there seems to be a straightforward way of supplementing the account of hearing emotion in music to provide an account of expressiveness per se. We hear emotion in music when the music presents an emotion characteristic in appearance

disciplines or subject matters. This book will examine all three conceptions of the discipline of aesthetics, but let me say up front, that it is aligned with, and will argue for, the last approach. To avoid confusion, we will use “aesthetics” to refer to only the study of aesthetic value and related notions such as aesthetic experience, aesthetic properties, and aesthetic judgments. Given this usage, aesthetics is one thing, the philosophy of art is another, though this is not to deny that

fiction, while it is the recognitional response that helps me to keep track of the plot, the characters, and salient bits of narrative that lead on to critical reflections about themes and symbols that suggest the underlying import of the work. A stranger suddenly appearing in cream colors by the city dockside without (as we immediately learn) baggage or accoutrements is ripe for imagining. That he appears on April Fool’s Day and is compared to the mythical first emperor of the Incans tends to be

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