- 1 The situation and tasks of the philosophy of art Preface to the second edition xi
- Who needs a theory of art?
- Philosophy as articulation
- Art as a natural social practice
- Action, gesture, and expressive freedom
- Schiller on art, life, and modernity
- Identification versus elucidation
- What may we hope for from the philosophy of art?
- 2 Representation, imitation, and resemblance
- Representation and aboutness
- Aristotle on imitation
- Visual depiction, resemblance, and game-playing
- Contemporary theories of depiction
- Representing as natural, human, world-responsive activity
- Distinctive functions of artistic representation
- 3 Beauty and form
- Beauty, absorption, and pleasure
- Kant on natural and artistic beauty
- General versus individual form
- Beardsley’s theory of individual form
- Criticisms of formalist-aesthetic theories of art
- Defenses of the aesthetic interest of art
- 4 Expression
- and Collingwood Feelings about subject matters in life: Wordsworth, Tolstoy,
- What is expressed in art? Hegel versus Danto
- How is artistic expression achieved?
- Collingwood’s psychodynamic theory
- Physiognomic similarity theories
- “Working-through”theories
- Emotions and contemporary psychology
- Why does artistic expression matter?
- 5 Originality and imagination
- Genius and the pursuit of the new: Kant
- Hegel’s criticisms of subjectivism
- Why originality matters: Adorno on free meaning-making
- and feminism Criticisms of the pursuit of originality: postmodernism
- Originality and imagination within common life
- Creativity: Scruton and Coleridge on artistic imagination
- 6 Understanding art
- Six strategies for understanding art
- The natures of thought and action: Hegel, Baxandall, and others
- and Derrida Pluralism and constraint in interpretation: Abrams, Fish,
- elements The special importance of the elucidation of formal-semantic
- Nehamas and Felski on what calls for elucidatory interpretation
- The possibility of agreement in understanding
- 7 Identifying and evaluating art
- Why we go on arguing about which works are good
- Subjectivism and the sociology of taste: Smith and Bourdieu
- Dickie’s institutional theory
- Historical and narrative identifications: Levinson and Carroll
- Objectivism: Mothersill and Savile
- Hume on feeling and judgment
- Kant on feeling and judgment
- on taste Personal and/versus discussable: Isenberg, Scruton, and Cohen
- 8 Art and emotion
- Some varieties of emotional response
- The paradox of fiction
- Hume on tragedy: denying (1)
- Making-believe and quasi-emotions: Walton, Levinson, and Feagin
- Robinson on affective appraisals: denying (3)
- Danto and Cohen on powers of attentive involvement
- Aristotle on catharsis
- Artistic making and the“working through”of emotion
- 9 Art and morality
- and others Some controversial cases: Mapplethorpe, Serrano, Finley,
- Autonomism and experimentalism
- Moralism and the clarification of thought and feeling
- Clarificationism and responding to complexity
- Art, propaganda, advertising, and cliché
- Ethical understanding and working through puzzlement
- 10 Art and society: some contemporary practices of art
- The reproduction of social lifevis-à-vis“infinite satisfaction”
- Art and modernity: Schiller and others
- Lukács, Marcuse, and Adorno
- and Althusser Structuralism and structural opposition in social life: Lévi Strauss
- Foster’s postmodern sociocultural criticism
- Avant-gardism and contemporary art
- Can artistic beauty still matter? What about fun?
- Art and social aspiration
- avant-gardism, and constructivism Some contemporary practices of art: primitivism, vernacularism,
- 11 Epilogue: the evidence of things not seen
- Bibliography
- Index
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