An Introduction to the Philosophy of Art

perhaps chanting and remembering the deeds of ancestors–is centrally part of the sustaining of life in tribal communities. These ...

independently of other psychological, social, economic, utilitarian, and so forth motives. Works of art that have decorative, li ...

genre is not sufficient for distinctively successful art. Mere formula must be worked through and overcome: in Pound’s phrase, t ...

In any case–no matter how things stand with his sometime emphasis on esoteric, iconoclastic modernist works as exemplars of the ...

best exemplars of its solution. A wish for a perfect union of spontaneity and discipline, of sensuousness and thought, and of im ...

of both linguistic and social codes that seemed to dominate artistic produc- tion, and in opposition both to the veneer of refin ...

origin”so as“to orient, balance, and organize the structure.”^51 Perhaps such orienting efforts cannot be quite wholly foregone. ...

to explain and justify why artists and authors–unlike ordinary craftsmen in the industrial and domestic arts–deserve a uniquely ...

to think that man is only a recent invention...a new wrinkle in our knowledge, and that he will disappear again as soon as that ...

praised“feminine”qualities in male creators...but claimed females could not–or should not–create...The genius’s instinct, emotio ...

from magisterial individual vision preconceived by an isolated creator alone. Women have had less than a full share of opportuni ...

imaginative exploration of material, is available and valuable within a variety of artistic practices and traditions. Part of th ...

Creativity: Scruton and Coleridge on artistic imagination In exploring the materials of a medium in relation to subject matter a ...

by objects in relation to human or other sensory faculties: being red or blue, sour or sweet, loud or soft. They are real enough ...

glimpse of the reality of freedom; and because, as Kant reminds us, reason deals only in necessities, we hear the free order of ...

In characterizing primary imagination as the“prime agent of all human perception,”Coleridge means that human beings take in the ...

their affective powers and inferential connections within one another within the game of make-believe:^73 to pretend or imagine ...

actual] with fresh meanings,”^78 especially meanings in relation to the inter- ests and emotions of human subjects. This is what ...

between means and ends. Much of labor is itself uninteresting, mechanical, and spiritually deadening, and the laborer has no way ...

6 Understanding art Six strategies for understanding art Consider the following six very broad strategies for understanding Shak ...