A L Cothey
The Nature of Art
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A L Cothey
The Nature of Art
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Although various aesthetic themes have preoccupied many major philosophers, from Plato to Goodman, the central questions of the philosophy of art have remained ill-defined. This book gives a concise and systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day, and goes on to propose a new theory of aesthetic satisfaction and artistic abilities.
Although various aesthetic themes have preoccupied many major philosophers, from Plato to Goodman, the central questions of the philosophy of art have remained ill-defined. This book gives a concise and systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day, and goes on to propose a new theory of aesthetic satisfaction and artistic abilities.
Produktdetails
- Produktdetails
- Verlag: Taylor & Francis Ltd (Sales)
- Seitenzahl: 214
- Erscheinungstermin: 13. Dezember 1990
- Englisch
- Abmessung: 216mm x 140mm x 16mm
- Gewicht: 422g
- ISBN-13: 9780415033572
- ISBN-10: 0415033578
- Artikelnr.: 21980417
- Verlag: Taylor & Francis Ltd (Sales)
- Seitenzahl: 214
- Erscheinungstermin: 13. Dezember 1990
- Englisch
- Abmessung: 216mm x 140mm x 16mm
- Gewicht: 422g
- ISBN-13: 9780415033572
- ISBN-10: 0415033578
- Artikelnr.: 21980417
A. L. Cothey
Introduction; 1. Art is anomalous; 2. Forms of aesthetic scepticism: philistines and iconoclasts; 3. Historical note; 4. The central issues; 5. Aestheticism; Section 01 I Hedonism and the Theory of Taste; Section 01
01
01 1. General objections; Section 01
01
02 2. Beauty as a secondary quality: Hutcheson, Reid, Burke; Section 01
01
03 3. Beauty as a primary quality: Santayana. Bell; Section 01
01
04 4. Hume's theory; Section 02 II Theories that Assign a Direct Practical F'urpose to Art; Section 02
01
01 1. Nutritional and medicinal analogies; Section 02
01
02 2. General difficulties; Section 02
01
03 3. Art as substitute satisfaction: Freud; Section 02
01
04 4. Tolstoy's theory; Section 02
01
05 5. Art as a pseudo
capacity: Plato; Section 02
01
06 6. Beauty and inspiration: Plato; Section 02
01
07 7. Metaphysical aestheticism: Plotinus; Section 03 III Perfection and the Play of Cognition; Section 03
01
01 1. Aristotle's theory of pleasure; Section 03
01
02 2. Beauty and perfection: a dilemma; Section 03
01
03 3. Rationalist aesthetics: Leibniz, Baumgarten; Section 03
01
04 4. Kant's theory (I): the existence of a non
cognitive aim of cognition; Section 03
01
05 5. Kant's theory (2): the sublime and the moral signijicance of beauty; Section 04 IV Art as the Experience of Metaphysical Truth; Section 04
01
01 1. The reception of Kant's theory: Schiller, Schelling; Section 04
01
02 2. Art and nature: Schelling; Section 04
01
03 3. Art as the 'sensuous presentation of the Absolute': Hegel; Section 04
01
04 4. Hegel's iconoclasm; Section 04
01
05 5. Art as respite: Schopenhauer; Section 04
01
06 6. Schopenhauer on music; Section 04
01
07 7. Conclusion: the needfor a theory offorms of knowledge; Section 05 V Art as Language; Section 05
01
01 1. Knowledge by acquaintance; Section 05
01
02 2. The phenomenological approach: Dufrenne; Section 05
01
03 3. Croce's theory of intuition and expression; Section 05
01
04 4. Presentational symbols: Langer; Section 05
01
05 5. Art and the general theory of symbols: Goodman; Section 06 VI Art and Metaphor; Section 06
01
01 1. The relevance of metaphor; Section 06
01
02 2. Theories of metaphor; Section 06
01
03 3. Literalist and tropist prejudices; Section 06
01
04 4. Dead and faint metaphor; Section 06
01
05 5. Viewpoints and exponability; Section 06
01
06 6. Art as metaphor; Section 06
01
07 7. Unanswered questions; Section 07 VII Virtues and Indirect Pleasures; Section 07
01
01 1. A problem about pleasure and 'completeness'; Section 07
01
02 2. Cognitive virtues; Section 07
01
03 3. A pragmatic theory of beauty; Section 07
01
04 4. Art as recreation; Section 07
01
05 5. The 'institutional' theory of art; Section 07
01
06 6. Cognitive pleasure: Aristotle on happiness; Section 08 VIII The Aim Behind Perception; Section 08
01
01 1. Cognition and the essentially metaphorical; Section 08
01
02 2. The intellect and the senses: Aristotle; Section 08
01
03 3. Further problems in understanding particulars; Section 08
01
04 4. The imagination as a pseudo
capacity; Section 08
01
05 5. Perception and kinaesthetic experience; Section 08
01
06 6. Productive skills and conceptual empathy; Section 09 IX Aesthetic Satisfaction; Section 09
01
01 1. Peculiarities of aesthetic enjoyment; Section 09
01
02 2. Perceptual knowledge; Section 09
01
03 3. Aesthetic understanding (1): empathic enjoyment; Section 09
01
04 4. Aesthetic understanding (2): beauty and necessity; Section 09
01
05 5. Beauty and experiential knowledge; Section 10 X Art and Artistic Abilities; Section 10
01
01 1. Questions about art; Section 10
01
02 2. Two theories of artistic abilities; Section 10
01
03 3. Creative imagination; Section 10
01
04 4. Inspiration and works of art; Section 10
01
05 5. Inspiration and artistic success; Section 10
01
06 6. Understanding art; Section 10
01
07 7. The value of art: aesthetic experience as a source of meaning; Bibliography; Index;
01
01 1. General objections; Section 01
01
02 2. Beauty as a secondary quality: Hutcheson, Reid, Burke; Section 01
01
03 3. Beauty as a primary quality: Santayana. Bell; Section 01
01
04 4. Hume's theory; Section 02 II Theories that Assign a Direct Practical F'urpose to Art; Section 02
01
01 1. Nutritional and medicinal analogies; Section 02
01
02 2. General difficulties; Section 02
01
03 3. Art as substitute satisfaction: Freud; Section 02
01
04 4. Tolstoy's theory; Section 02
01
05 5. Art as a pseudo
capacity: Plato; Section 02
01
06 6. Beauty and inspiration: Plato; Section 02
01
07 7. Metaphysical aestheticism: Plotinus; Section 03 III Perfection and the Play of Cognition; Section 03
01
01 1. Aristotle's theory of pleasure; Section 03
01
02 2. Beauty and perfection: a dilemma; Section 03
01
03 3. Rationalist aesthetics: Leibniz, Baumgarten; Section 03
01
04 4. Kant's theory (I): the existence of a non
cognitive aim of cognition; Section 03
01
05 5. Kant's theory (2): the sublime and the moral signijicance of beauty; Section 04 IV Art as the Experience of Metaphysical Truth; Section 04
01
01 1. The reception of Kant's theory: Schiller, Schelling; Section 04
01
02 2. Art and nature: Schelling; Section 04
01
03 3. Art as the 'sensuous presentation of the Absolute': Hegel; Section 04
01
04 4. Hegel's iconoclasm; Section 04
01
05 5. Art as respite: Schopenhauer; Section 04
01
06 6. Schopenhauer on music; Section 04
01
07 7. Conclusion: the needfor a theory offorms of knowledge; Section 05 V Art as Language; Section 05
01
01 1. Knowledge by acquaintance; Section 05
01
02 2. The phenomenological approach: Dufrenne; Section 05
01
03 3. Croce's theory of intuition and expression; Section 05
01
04 4. Presentational symbols: Langer; Section 05
01
05 5. Art and the general theory of symbols: Goodman; Section 06 VI Art and Metaphor; Section 06
01
01 1. The relevance of metaphor; Section 06
01
02 2. Theories of metaphor; Section 06
01
03 3. Literalist and tropist prejudices; Section 06
01
04 4. Dead and faint metaphor; Section 06
01
05 5. Viewpoints and exponability; Section 06
01
06 6. Art as metaphor; Section 06
01
07 7. Unanswered questions; Section 07 VII Virtues and Indirect Pleasures; Section 07
01
01 1. A problem about pleasure and 'completeness'; Section 07
01
02 2. Cognitive virtues; Section 07
01
03 3. A pragmatic theory of beauty; Section 07
01
04 4. Art as recreation; Section 07
01
05 5. The 'institutional' theory of art; Section 07
01
06 6. Cognitive pleasure: Aristotle on happiness; Section 08 VIII The Aim Behind Perception; Section 08
01
01 1. Cognition and the essentially metaphorical; Section 08
01
02 2. The intellect and the senses: Aristotle; Section 08
01
03 3. Further problems in understanding particulars; Section 08
01
04 4. The imagination as a pseudo
capacity; Section 08
01
05 5. Perception and kinaesthetic experience; Section 08
01
06 6. Productive skills and conceptual empathy; Section 09 IX Aesthetic Satisfaction; Section 09
01
01 1. Peculiarities of aesthetic enjoyment; Section 09
01
02 2. Perceptual knowledge; Section 09
01
03 3. Aesthetic understanding (1): empathic enjoyment; Section 09
01
04 4. Aesthetic understanding (2): beauty and necessity; Section 09
01
05 5. Beauty and experiential knowledge; Section 10 X Art and Artistic Abilities; Section 10
01
01 1. Questions about art; Section 10
01
02 2. Two theories of artistic abilities; Section 10
01
03 3. Creative imagination; Section 10
01
04 4. Inspiration and works of art; Section 10
01
05 5. Inspiration and artistic success; Section 10
01
06 6. Understanding art; Section 10
01
07 7. The value of art: aesthetic experience as a source of meaning; Bibliography; Index;
Introduction; 1. Art is anomalous; 2. Forms of aesthetic scepticism: philistines and iconoclasts; 3. Historical note; 4. The central issues; 5. Aestheticism; Section 01 I Hedonism and the Theory of Taste; Section 01
01
01 1. General objections; Section 01
01
02 2. Beauty as a secondary quality: Hutcheson, Reid, Burke; Section 01
01
03 3. Beauty as a primary quality: Santayana. Bell; Section 01
01
04 4. Hume's theory; Section 02 II Theories that Assign a Direct Practical F'urpose to Art; Section 02
01
01 1. Nutritional and medicinal analogies; Section 02
01
02 2. General difficulties; Section 02
01
03 3. Art as substitute satisfaction: Freud; Section 02
01
04 4. Tolstoy's theory; Section 02
01
05 5. Art as a pseudo
capacity: Plato; Section 02
01
06 6. Beauty and inspiration: Plato; Section 02
01
07 7. Metaphysical aestheticism: Plotinus; Section 03 III Perfection and the Play of Cognition; Section 03
01
01 1. Aristotle's theory of pleasure; Section 03
01
02 2. Beauty and perfection: a dilemma; Section 03
01
03 3. Rationalist aesthetics: Leibniz, Baumgarten; Section 03
01
04 4. Kant's theory (I): the existence of a non
cognitive aim of cognition; Section 03
01
05 5. Kant's theory (2): the sublime and the moral signijicance of beauty; Section 04 IV Art as the Experience of Metaphysical Truth; Section 04
01
01 1. The reception of Kant's theory: Schiller, Schelling; Section 04
01
02 2. Art and nature: Schelling; Section 04
01
03 3. Art as the 'sensuous presentation of the Absolute': Hegel; Section 04
01
04 4. Hegel's iconoclasm; Section 04
01
05 5. Art as respite: Schopenhauer; Section 04
01
06 6. Schopenhauer on music; Section 04
01
07 7. Conclusion: the needfor a theory offorms of knowledge; Section 05 V Art as Language; Section 05
01
01 1. Knowledge by acquaintance; Section 05
01
02 2. The phenomenological approach: Dufrenne; Section 05
01
03 3. Croce's theory of intuition and expression; Section 05
01
04 4. Presentational symbols: Langer; Section 05
01
05 5. Art and the general theory of symbols: Goodman; Section 06 VI Art and Metaphor; Section 06
01
01 1. The relevance of metaphor; Section 06
01
02 2. Theories of metaphor; Section 06
01
03 3. Literalist and tropist prejudices; Section 06
01
04 4. Dead and faint metaphor; Section 06
01
05 5. Viewpoints and exponability; Section 06
01
06 6. Art as metaphor; Section 06
01
07 7. Unanswered questions; Section 07 VII Virtues and Indirect Pleasures; Section 07
01
01 1. A problem about pleasure and 'completeness'; Section 07
01
02 2. Cognitive virtues; Section 07
01
03 3. A pragmatic theory of beauty; Section 07
01
04 4. Art as recreation; Section 07
01
05 5. The 'institutional' theory of art; Section 07
01
06 6. Cognitive pleasure: Aristotle on happiness; Section 08 VIII The Aim Behind Perception; Section 08
01
01 1. Cognition and the essentially metaphorical; Section 08
01
02 2. The intellect and the senses: Aristotle; Section 08
01
03 3. Further problems in understanding particulars; Section 08
01
04 4. The imagination as a pseudo
capacity; Section 08
01
05 5. Perception and kinaesthetic experience; Section 08
01
06 6. Productive skills and conceptual empathy; Section 09 IX Aesthetic Satisfaction; Section 09
01
01 1. Peculiarities of aesthetic enjoyment; Section 09
01
02 2. Perceptual knowledge; Section 09
01
03 3. Aesthetic understanding (1): empathic enjoyment; Section 09
01
04 4. Aesthetic understanding (2): beauty and necessity; Section 09
01
05 5. Beauty and experiential knowledge; Section 10 X Art and Artistic Abilities; Section 10
01
01 1. Questions about art; Section 10
01
02 2. Two theories of artistic abilities; Section 10
01
03 3. Creative imagination; Section 10
01
04 4. Inspiration and works of art; Section 10
01
05 5. Inspiration and artistic success; Section 10
01
06 6. Understanding art; Section 10
01
07 7. The value of art: aesthetic experience as a source of meaning; Bibliography; Index;
01
01 1. General objections; Section 01
01
02 2. Beauty as a secondary quality: Hutcheson, Reid, Burke; Section 01
01
03 3. Beauty as a primary quality: Santayana. Bell; Section 01
01
04 4. Hume's theory; Section 02 II Theories that Assign a Direct Practical F'urpose to Art; Section 02
01
01 1. Nutritional and medicinal analogies; Section 02
01
02 2. General difficulties; Section 02
01
03 3. Art as substitute satisfaction: Freud; Section 02
01
04 4. Tolstoy's theory; Section 02
01
05 5. Art as a pseudo
capacity: Plato; Section 02
01
06 6. Beauty and inspiration: Plato; Section 02
01
07 7. Metaphysical aestheticism: Plotinus; Section 03 III Perfection and the Play of Cognition; Section 03
01
01 1. Aristotle's theory of pleasure; Section 03
01
02 2. Beauty and perfection: a dilemma; Section 03
01
03 3. Rationalist aesthetics: Leibniz, Baumgarten; Section 03
01
04 4. Kant's theory (I): the existence of a non
cognitive aim of cognition; Section 03
01
05 5. Kant's theory (2): the sublime and the moral signijicance of beauty; Section 04 IV Art as the Experience of Metaphysical Truth; Section 04
01
01 1. The reception of Kant's theory: Schiller, Schelling; Section 04
01
02 2. Art and nature: Schelling; Section 04
01
03 3. Art as the 'sensuous presentation of the Absolute': Hegel; Section 04
01
04 4. Hegel's iconoclasm; Section 04
01
05 5. Art as respite: Schopenhauer; Section 04
01
06 6. Schopenhauer on music; Section 04
01
07 7. Conclusion: the needfor a theory offorms of knowledge; Section 05 V Art as Language; Section 05
01
01 1. Knowledge by acquaintance; Section 05
01
02 2. The phenomenological approach: Dufrenne; Section 05
01
03 3. Croce's theory of intuition and expression; Section 05
01
04 4. Presentational symbols: Langer; Section 05
01
05 5. Art and the general theory of symbols: Goodman; Section 06 VI Art and Metaphor; Section 06
01
01 1. The relevance of metaphor; Section 06
01
02 2. Theories of metaphor; Section 06
01
03 3. Literalist and tropist prejudices; Section 06
01
04 4. Dead and faint metaphor; Section 06
01
05 5. Viewpoints and exponability; Section 06
01
06 6. Art as metaphor; Section 06
01
07 7. Unanswered questions; Section 07 VII Virtues and Indirect Pleasures; Section 07
01
01 1. A problem about pleasure and 'completeness'; Section 07
01
02 2. Cognitive virtues; Section 07
01
03 3. A pragmatic theory of beauty; Section 07
01
04 4. Art as recreation; Section 07
01
05 5. The 'institutional' theory of art; Section 07
01
06 6. Cognitive pleasure: Aristotle on happiness; Section 08 VIII The Aim Behind Perception; Section 08
01
01 1. Cognition and the essentially metaphorical; Section 08
01
02 2. The intellect and the senses: Aristotle; Section 08
01
03 3. Further problems in understanding particulars; Section 08
01
04 4. The imagination as a pseudo
capacity; Section 08
01
05 5. Perception and kinaesthetic experience; Section 08
01
06 6. Productive skills and conceptual empathy; Section 09 IX Aesthetic Satisfaction; Section 09
01
01 1. Peculiarities of aesthetic enjoyment; Section 09
01
02 2. Perceptual knowledge; Section 09
01
03 3. Aesthetic understanding (1): empathic enjoyment; Section 09
01
04 4. Aesthetic understanding (2): beauty and necessity; Section 09
01
05 5. Beauty and experiential knowledge; Section 10 X Art and Artistic Abilities; Section 10
01
01 1. Questions about art; Section 10
01
02 2. Two theories of artistic abilities; Section 10
01
03 3. Creative imagination; Section 10
01
04 4. Inspiration and works of art; Section 10
01
05 5. Inspiration and artistic success; Section 10
01
06 6. Understanding art; Section 10
01
07 7. The value of art: aesthetic experience as a source of meaning; Bibliography; Index;