The Philosophy of Art: An Introduction

The Philosophy of Art: An Introduction

Theodore Gracyk

Language: English

Pages: 284

ISBN: 0745649165

Format: PDF / Kindle (mobi) / ePub


The Philosophy of Art is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art. Chapters on standard topics are balanced by topics of interest to today's students, including creativity, authenticity, cultural appropriation, and the distinction between popular and fine art. Other topics include emotive expression, pictorial representation, definitional strategies, and artistic value. Presupposing no prior knowledge of philosophy, Theodore Gracyk draws on three decades of teaching experience to provide a balanced and engaging overview, clear explanations, and many thought-provoking examples.

All chapters have a strong focus on current debates in the field, yet historical figures are not neglected. Major current theories are set beside key ideas from Plato, Aristotle, Kant, Marx, and Hegel. Chapters conclude with advice on further readings, and there are recommendations of films that will serve as a basis for further reflection and discussion. Key ideas are immediately accompanied by exercises that will test students' reactions and understanding. Many chapters call attention to ideology, prejudices, and common clichés that interfere with clear thinking.

Beautifully written and thoroughly comprehensive, The Philosophy of Art is the ideal resource for anyone who wants to explore recent developments in philosophical thinking about the arts. It is also provides the perfect starting point for anyone who wants to reflect on, and challenge, their own assumptions about the nature and value of art.

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The Philosophy of Motion Pictures

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

How to Read a Poem

A Mathematician's Apology

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

of Identity in Eighteenth-Century Europe (ed. M. Hyde and J. Milam), pp. 20–45. Ashgate. Johnston, D. (1993) “Spiritual Seekers Borrow Indians’ Ways.” New York Times, December 27, 1993: A1. Kandinsky, W. (1977 [1911]) Concerning the Spiritual in Art (trans. M. T. H. Sadler). Dover Publications. Kant, I. (1987 [1790]) Critique of Judgment (trans. W. Pluhar). Hackett. Kaplan, A. (1966) “The Aesthetics of the Popular Arts,” The Journal of Aesthetics and Art Criticism 24: 351–64. Keith, A. B. (1924)

131–57. Sibley, F. (2001) Approach to Aesthetics: Collected Papers on Philosophical Aesthetics (ed. J. Benson, B. Redfern and J. R. Cox). Oxford University Press. Silvers, Anita (1991) “The Story of Art is the Test of Time,” The Journal of Aesthetics and Art Criticism 49: 211–24. Smith, M. (1995) Engaging Characters: Fiction, Emotion, and the Cinema. Clarendon. Solomon, R. (2007) True to Our Feelings: What Our Emotions Are Really Telling Us. Oxford University Press. Spiegelman, A. (1996) Maus: A

Charles is aware that his response involves make-believe emotion. (Another common way to put this idea is that people understand that they are merely pretending to believe there is a monster and, within this pretend scenario, they also understand that they are pretending to feel emotions in response.) However, it is not at all obvious to people that their tears of joy or their heart-pounding fear is not a real emotion. Walton’s explanation of arousal assigns overly sophisticated and highly

arts. He restricts the fine arts to music, dance, poetry, painting, and sculpture. From Batteux’s perspective, Vasari made a mistake in grouping architects with painters and sculptors. Architecture is an impure or mixed art that must balance practical use against visual appearance. Recognizing that the fine arts are historically dependent on the patronage of a leisure class, he proposes that fine art has an essential function: fine art need not instruct us, but it must provide pleasurable

building you selected to one of the others. How would you judge the appearance of each building if this newly assigned purpose was the intended one? Kant’s contrast of artistic and natural beauty demonstrates that the disci-pline of aesthetics is not identical with philosophy of art. Unfortunately, many readers take away a different message. His position on pure responses to nature is often misread as a position about art. In other words, Kant is frequently thought to recommend aesthetic

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