Aesthetics and the Philosophy of Art: The Analytic Tradition: An Anthology
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This anthology provides comprehensive coverage of the major contributions of analytic philosophy to aesthetics and the philosophy of art, from the earliest beginnings in the 1950’s to the present time.
- Traces the contributions of the analytic tradition to aesthetics and the philosophy of art, from the 1950’s to the present time.
- Designed as a comprehensive guide to the field, it presents the most often-cited papers that students and researchers encounter.
- Addresses a wide range of topics, including identifying art, ontology, intention and interpretation, values of art, aesthetic properties, fictionality, and the aesthetics of nature.
- Explores particular art forms, including pictorial art, literature, music, and the popular arts.
calmed by his never ending contemplation. The hasty and noisy world we are living in, and which we ourselves have created, has bereaved us of what we want. Art finds itself in a confusing situation. The poet, therefore, should walk slowly through life, without ever « making a halt ». Much has gone wrong in the West. This seems to be an appropriate summary of the previous chronicles. Jacques-Bernard Roumanes has chosen a different, perhaps more thorough-going approach in his description of our «
and are known only confusedly. But when everything which enters into a definition or into distinct knowledge is itself known distinctly, right up to primitive notions, I call this knowledge adequate. (Sec. 24.) Here we can see Leibniz’s distinction in mode of ideas. The recognition of the truth is produced by clear and distinct ideas as Descartes claimed. Only clear and distinct knowledge is relevant to philosophy, while aesthetics does not require such ideas, only clear and confused ideas. To
For Abhivana, the aesthetic experience prefigures and prepares one for ultimate realization primarily through its transcendence of the limited vision and hindering preoccupation of the limited ego, in a state that is characterized by repose (visrānti) and bliss (ānanda). Thus for him the two goals of poetry identified in earlier texts, vyutpatti, discerning ability, and prīti, delight, are not strictly separable. They are two sides of the same coin. In the worldview of Abhinava dramatic
homes (cf. Beata Sirowy on Heidegger). Religion and art are essential constituents in the shaping of people’s cultural identity. In Anand Amaladass we read: Religion and art go together almost in all cultures. Religion uses music in rituals and liturgies and develops architecture to suit their liturgical needs. Visual art depicts their religious history. Art shapes religion, affection, beliefs, memories, and provides symbols. Religion without art could become some ethereal spiritualism, and art
masque. Au contraire des Baoulé, les Vagla du Ghana, si on dirige son regard sur les objets interdits, on ne risque rien puisque le non initié, le non averti ne verra jamais le fond des choses. Mais dans les objets d’art utilisés lors des consultations des devins ou lors des visites aux sanctuaires chez certains Baoulé, on ne regarde pas l’objet fixement (nyin Kpa), on ne fait que « jeter le regard » (nian klekle). Là aussi il faut revoir le rôle joué par l’obscurité et l’ombre dans la sculpture