The Routledge Companion to Aesthetics (Routledge Philosophy Companions)

The Routledge Companion to Aesthetics (Routledge Philosophy Companions)

Dominic McIver Lopes

Language: English

Pages: 600

ISBN: B000OI177S

Format: PDF / Kindle (mobi) / ePub

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beauty in the Critique of Judgement begins with the remark: “natural beauty . . . brings with it a purposiveness in its form by which the object seems to be, as it were, preadapted to our judgement, and thus constitutes in itself an object of satisfaction” (Kant 1951: §23). Here Kant seems to think that natural beauty is the exemplar of the ‘purposiveness of form’ that he earlier (ibid.: §14) claimed was the basis of pleasure underlying the judgement of taste. The second discussion of natural

finally, reduces the role of the sensory still further. The sound of poetry does not matter in the way that musical sound does. (‘Background’ music can be enjoyable. Who listens to ‘background’ poetry?) What matters is the meaning, the conceptions, conveyed: and if these can be transposed into a foreign language without loss, the translation is as good as the original. ‘Conception’ is Vorstellung, which also means ‘imagination.’ Since imagination is involved in all the arts, poetry exposes the

pictorial structures. As a result, Bell is eminently straightforward about what, in essence, he takes painting-as-an-art-work to be. Essentially, it is significant form. That is, where a painting is a genuine art work, it addresses the imagination like the figures of Gestalt psychology, prompting the viewer to apprehend it as an organized configuration of lines, colors, shapes, spaces, vectors, and the like. Bell’s conception of painting is a rival to other general theories of art. Bell rejects

alternative is perception, and here Sibley’s aesthetics becomes a piece with his work on perception. We can get people to see. This is the claim of the second part of “Aesthetic Concepts.” There we have a description of the ways in which we might get someone to see something in a picture. We have what Sibley sometimes refers to, always with scare quotes, as ‘perceptual proof.’ Aesthetics, he repeatedly stresses, is to do with perception. We have to see the qualities for which a work is worth our

at least since Kant. One is about the truth of the claim made, for example, by Savile and Scruton, that ‘beauty is always attributive,’ so that, Savile claimed, we can only ask whether X is a beautiful A (Savile 1982). That judgement is, given Sibley’s later work, in need of careful defense. Second, some, Wollheim (1980), for example, taking issue with Croce (1992), have spoken as if genre judgements are central to aesthetic judgement, so that judgement of a poem might be conditioned by what one

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