Aesthetics A-Z (Philosophy A-Z EUP)
Format: PDF / Kindle (mobi) / ePub
Covers the key concepts, arguments, problems and figures in aesthetics and the philosophy of artThis introduction to aesthetics provides a layered treatment of both the historical background and contemporary debates in aesthetics. Extensive cross-referencing shows how issues in aesthetics intersect with other branches of philosophy and other fields that study the arts. Aesthetics A-Z is an ideal guide for newcomers to the field of aesthetics and a useful reference for more advanced students of philosophy, art history, media studies and the performing arts.
the social nature of the artworld in his institutional theory of art. According to Dickie’s later version of this theory, the artworld is the totality of all artworld systems, whereas an artworld M2356 - GUTER PRINT.indd 18 27/09/2010 08:18 AESTHETICS A–Z 19 system is a framework for the presentation of a work of art by an artist to an artworld public. The artworld is a semi-formal, social structure consisting of a myriad of coordinated activities (painting, sculpting, performing music,
89 See phenomenology Further reading: Arnheim 1974 Gombrich, Ernst (1909–2001): Austrian-born historian and theoretician of art, who was active primarily in England and in the USA, known for his influential work on the psychological and cultural foundations of the history of artistic style. In his celebrated book Art and Illusion (1960/1969), Gombrich sets out to solve what he calls ‘the riddle of style’, namely, the fact that while different artists, in different periods and cultures, have
See intentionalism; language; Margolis; Ricoeur; understanding Further reading: Gadamer 1976 Hume, David (1711–76): Scottish philosopher whose work brought British empiricism to an apex and had an enduring effect on moral philosophy, epistemology, and aesthetics well into the twentieth century. In his essay ‘Of the Standard of Taste’ (1757), a seminal text in the annals of aesthetics, Hume advanced a subjectivist theory of aesthetic judgment. He accepted Hutcheson’s idea that describing an object
08:18 AESTHETICS A–Z 153 for decorative arts, and it has often been used effectively in parody. It is also quite common in new media art. Postmodern thought, itself an occasional pastiche, has sought to rehabilitate the idea of pastiche as some sort of playful practice of ‘double-coding’, hence meaningful and creative after all, especially in architecture. However, it is not clear at all whether pastiche rises to the level of artistic self-reference. See forgery; ornamentation Further
self-contained, and self-regulating systems of signs. Resistance to this formalist rigidity has become the crux of poststructuralist critique in continental aesthetics. See Barthes; text Further reading: Culler 1986 Schiller, Friedrich (1759–1805): German poet, playwright, and philosopher, author of the famous ‘Ode to Joy’, which is featured at the conclusion of Beethoven’s ninth symphony. Schiller’s best known work in aesthetics consists of a series of twenty-seven letters titled On the