Aesthetics (Fundamentals of Philosophy)

Aesthetics (Fundamentals of Philosophy)

Colin Lyas

Language: English

Pages: 256

ISBN: 0773516476

Format: PDF / Kindle (mobi) / ePub

The book includes engaging discussions of all of the areas central to aesthetics: aesthetic experience, representation, expression, the definition and ontology of art, evaluation, interpretation, truth, and morality. As well as providing a solid grounding in the seminal theories of Plato, Immanuel Kant, and Benedetto Croce, it presents the ideas of contemporary analytic thinkers, such as Ludwig Wittgenstein and Nelson Goodman, and the iconoclastic views of continental theorists, such as Roland Barthes and Jacques Derrida. Concerned throughout with enhancing the reader's response to art, Colin Lyas brings his theoretical discussions to life with a wealth of topical examples of human creativity that are familiar to young people: Bowie as well as Beethoven, Warhol as well as Whistler. With comprehensive, up-to-date guides to further reading, Aesthetics is an invaluable introduction for students taking philosophy of art courses and essential reading for anyone who wishes to be informed and inspired to think about and experience art in a new way.

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description of his night at the opera.) Tolstoy is not 59 NE’ER SO WELL EXPRESSED (I) engaged in an academic exercise, but cares about art and its effects on those who produce and consume it. He seems to me to ask the right questions about the huge cost, financial and emotional, of art and about its absurd hierarchies. The controversies that rage about such prestige organizations as London’s Royal Opera House show these questions have not lost their relevance. Part of What is art? is negative,

this line is curved, there is an alliteration in line three. At level 3 we make overall judgements of works of art. Having found out about all the components of the work, we put everything together and give a verdict. At level 2 we are still dealing with elements of the work. Even to say that a work as a whole has an elegance, say, is not to claim that it is, overall, a satisfactory work of art. For the elegance might be at odds with some other element of the work, say its subject matter. At

are characterized as “I like Barry Manilow”, said with a defiant air and with an arrogant tone that refuses discussion. This, however, is not how assertions that one likes something are typically made. One leaves the cinema with someone one loves and says, “Good, wasn’t it?”. One says to a friend, “I liked the part 127 THE PROOF OF THE PUDDING where Cleese did the silly walk” or “I liked the way she played the adagio”. These are not subjective remarks, if to be a subjective remark is to be

is determining the meaning of a work of art. There is also, in Beardsley and Wimsatt, the more general attempt to show that no reference of any kind to an artist has any bearing on the critical appreciation of a work of art. If the latter thesis is true, the former will be true. For, if no reference to artists is legitimate, then no reference to their intentions is legitimate. Let us therefore begin by examining the general thesis. Descartes Over all these discussions, in both the Anglo-American

emotions and more generally the mind of its creator, is another, entirely separate object, existing in another, separately existing “internal”, private world. P2: It is self-evident that the proper object of study for those who study art is the work of art itself. If those who undertake this study divert attention to any other, discrete and different object, then they deviate into irrelevance. But, P3: The mind of the artist is a discrete and different object from the public work of art itself.

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