The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury Studies in Philosophy)

The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury Studies in Philosophy)

Tiziana Andina

Language: English

Pages: 209


Format: PDF / Kindle (mobi) / ePub

Drawing on the philosophies of art developed by the continental authors and studies of Anglo-American philosophers, this book presents a panorama of the philosophy of art. It discusses definitions offered from the analytical school including Arthur Danto's representationalism, Dipert's theories of artefactualism, Dickie's institutional and procedural theories and Levinson's historical and cultural theories. From the continental theories it reflects on Hegel's notion of philosophy of art, Martin Heidegger's and Hans Georg Gadamer's hermeneutic tradition and Alexius Meinong's theory of objects.

This range of definitions and theories are judged and defended using a form of representationalism that begins with the results of Arthur Danto's thinking and integrates the aesthetic reflection of the Baumgarten School. The result is not only a presentation of philosophy of art from the beginning of the twentieth century to present day, but a study that proposes a theory capable of synthesizing the finest contributions of the analytic and continental traditions.

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insofar as what seems to be essential to the understanding of the facts is an understanding of the historical-cultural dimension that determined them. Let us suppose that the historian in the hypothetical world is interested in the attack on Pearl Harbor 7 December 1941, carried out by Japan against the United States without a declaration of pre-emptive war. The theory which they commit himself to could have two different declinations: first (the strongest and on the verge of being paradoxical),

foremost, mimetic. The difference lies in their respective conclusions: Plato maintains that art is useless and damaging, while Aristotle attributes to it a specific purpose. On these grounds I shall treat the Platonic-Aristotelian theory (which I will define ‘duplicative’ or, even, ‘imitative’ as it considers art by the same standard as it does a duplication mechanism in reality) as a single position, which prefigures the representational or neo-representational theories. Yet, as we shall see,

made, was able to convince him to sell them. These were the first traces of tulipomania. At this point, three protagonists are introduced into our story: a passion (the passion the Dutch had for flowers in general, and for tulips in particular), a star (the Semper Augustus) and an unfulfilled wish (to possess that flower). That wish, so difficult to satisfy, prompted the creativity of a host of people: ordinary people, travelling collectors, apothecaries, cultivators and, last but not least,

there were a concept of art that is in good order and that did pick out a range of things that share a common nature, it is not clear that explanatory issues can be addressed given only a grasp of the concept of art. (Zangwill, 2007, 389–90) Zangwill’s objections are therefore, paradigmatically, made up of two types. The first is ‘of law’: to set as an objective the definition of a concept means to assume that there exists a concept which is suitable to that which we intend to define (something

Danto argues that works of art share the same ontological region that is occupied by natural language. Danto clearly harks back to Strawson and borrows the underlying idea: an artwork is a material object that embodies ‘something’, beyond the original material structure, that renders the object a different kind of object. It is, in other words, a new complex of commodities. A person is something more than the sum of the parts of their body, just as an artwork is different from a simple artefact.

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