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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(Poetics 1453b11). But here the text lends itself to more than one reading, for katharsis was used in several different contexts before Aristotle, and those contexts slanted the word’s central meaning of a ‘cleaning.’ A medical catharsis, for example, was a purgation, like a laxative or enema that cleaned out the digestive system. Catharsis in a more neutral context meant simply a clean-up or clarification. There are other senses as well, but these two provide the dominant modern paradigms for

Philosophy, University of Auckland, New Zealand is the author of Definitions of Art and Musical Meaning and Expression, and the editor of Art and its Messages. He has also published many articles on the philosophy of art. Mark DeBellis is Associate Professor of Music at Columbia University, USA. His interests include the philosophy of music perception and cognition, the relationship of analysis to listening, and Verdi. He is the author of Music and Conceptualization. Denis Dutton teaches

“theorems” or “demonstrated universal truths,” such as the propositions of Euclid’s geometry or Newton’s gravitational principle. (ibid.: sect. I, art. XI; sect III, arts. I, II, V). To the premise that the source of pleasure is thoroughly sensible, then, we add the premise that it arises only with the involvement of some internal source. From these considerations Hutcheson’s conclusion then follows inescapably: the pleasure of beauty arises only with the involvement of an internal sense, or

took it to be. The end of Hegel? Hegel’s aim was to depict the development of mind in all its rich complexity. He strove to avoid ‘one-sidedness,’ to encompass with a sovereign objectivity all phases and aspects of the evolution of mind. Despite Hegel’s aversion to didactic poetry and to most of the productions of his romantic contemporaries, this objectivity is apparent in his account of art. He has, he believes, devised a system that assigns each art, each artform, every significant work, its

argued, are purely incidental to its function as art (Lamarque and Olsen 1994). Others – still modernists – argue that art may properly be considered as instructive; indeed, that its cognitive content is integral to its value as art (Novitz 1992: ch.4; Gaut 1998) but that its powers of instruction are limited by considerations of reason and truth (Novitz 1992: ch.10). As against this, contemporary postmodernists have argued (either directly or by implication) that art in particular, and human

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