The Blackwell Guide to Aesthetics
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The Blackwell Guide to Aesthetics is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music.
- Provides a guide to the central traditional and cutting edge issues in aesthetics today.
- Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Eaton, Joseph Margolis, Berys Gaut, Nicholas Wolterstrorff, Susan Feagin, Peter Lamarque, Stein Olsen, Francis Sparshott, Alan Goldman, Jenefer Robinson, Mary Mothersill, Donald Crawford, Philip Alperson, Laurent Stern and Amie Thomasson.
- Functions as the ideal text for undergraduate and graduate courses in aesthetics, art theory, and philosophy of art.
kind of education that novels offer is a sentimental education. It is an expe&ztial education. It would be silly to say that all we acquire from Anna I(awnina is the dispassionate belief that life’s a bummer. We are able to find out what it is like to be in a particular emotional state, to understand how one can come to be in that state, what happens when you are in such a state, how it affects other people, how it affects your motives and future plans, how to escape from it, and so on and so
a more tolerable and less costly form, and that only the fact that we do experience such real emotions in art explains our interest in it. Baumgarten (1735: Sii) . Baumgarten's term sensitiva, translated into German as sinnlicb, could easily be translated as "sensitive" or "sensitively." But since in contemporary English that term might connote a special degree of refinement in 42 T h e Origins of Modern Aesthetics: 17 11-35 10 11 12 13 discernment, I have instead adopted the translation
is necessarily H 2 0 .In the case of a species of plants or animals, the essential, underlying property would perhaps turn out to be something like a particular DNA profile or whatever the correct underlying property is for species. These underlying properties serve to identify, for example, gold and water in all possible worlds in which there are such substances. In the cases of elements, compounds and species, the essential properties are underlying because they are micro-structures. The
the pleasure of eating (the true function of food being nourishment), confusing the value of art with the pleasures that may accompany attending t o it pre~ cludcs an cxplanation of why it has thc importancc that it docs to individuals and communities. That is, we cannot possibly account for the important role art plays solely in terms of pleasure. That would amount to putting art on the same level as eating chocolate or having a massage. Tolstoy argued that art is important because it enables
their spatio-temporal foundations. To accept this suggestion and enable direct reference to dependent entities of various kinds, however, causal theories must be modified with an ontologically descriptive element, as described above. Since the concepts of would-be grounders only establish the ontological kind of the entity referred to, if anythin8 is in f a c t yefewed to (that is, if the grounding succeeds), this alone does not rule out taking the eliminativist view that there are no works of