The Routledge Companion to Aesthetics (Routledge Philosophy Companions)

The Routledge Companion to Aesthetics (Routledge Philosophy Companions)

Language: English

Pages: 704

ISBN: 0415782872

Format: PDF / Kindle (mobi) / ePub


The third edition of the acclaimed Routledge Companion to Aesthetics contains over sixty chapters written by leading international scholars covering all aspects of aesthetics.

This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to issues and challenges in aesthetics, including art and ethics, art and religion, creativity, environmental aesthetics and feminist aesthetics. The final part addresses the individual arts, including music, photography, film, videogames, literature, theater, dance, architecture and design.

With ten new entries, and revisions and updated suggestions for further reading throughout, The Routledge Companion to Aesthetics is essential for anyone interested in aesthetics, art, literature, and visual studies.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Further reading Adorno, T. (1970–86) Gesammelte Schriften, ed. R. Tiedemann et al., Frankfurt am Main: Suhrkamp. (Twenty volumes collect writings published by Adorno.) ——(1993) Nachgelassene Schriften, ed. R. Tiedemann et al., Frankfurt am Main: Suhrkamp. (Planned to exceed thirty volumes, Adorno’s unpublished writings include lectures and public talks, as well as transcripts of interviews.) Cook, D. (ed.) (2008) Theodor Adorno: Key Concepts, Montreal: McGill-Queen’s University Press.

knowledge, understanding and moral comprehension. Nor were truths hidden from us: if Hobbes and Locke are to be believed, literal language can convey these to us (Hobbes 1962: 13, 22; Locke 1961: vol. 2, 105–6), so that any ordinary human being can achieve a well-grounded understanding of the world, provided only that we use those natural ways of coming to know that are part of our shared human nature. Truth, rationality, the possibility of natural (rather than supernatural) sources of knowledge,

exhausted all the pertinent alternatives. A second frequently mentioned, though very different, line of objection to the common denominator argument is that it presupposes that there must be a necessary feature shared by all artworks. Followers of Ludwig Wittgenstein such as Morris Weitz (1956) have questioned this. Believing that all artworks necessarily possess a 92 FORMALISM common feature seems to be more an article of faith than an established fact. What we call art seems so very diverse.

physical matter of the image to the extent that it allows us to see it as a representation of something: “it is the invitation that functions as an analogon and it is through it that my attention is directed at Pierre [rather than at the portrait of Pierre]” (ibid.: 22). As such it serves as the “analogue” or “equivalent of perception.” For Sartre this is in principle not different in the case of mental imagery. As noted, all images, whether physical or mental, are defined by their intentionality.

that people recognize but do not enjoy as music. Consumers purchase celebrity, not art (Horkheimer and Adorno 2007). In examples that postdate Adorno, “The Three Tenors” encourage millions of people to buy Puccini arias, but these consumers gain no more from the purchase than do people who buy a perfume because it is 143 THEODORE GRACYK associated with some other celebrity. Meanwhile, for popular musicians, an appearance on the program MTV Cribs will sell far more “product” than a host of

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