Aesthetics

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M.E. Sharpe, 1997 - 191 strani

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The Elusiveness of Art Questions of Definition and Delimitation
3
A Word Like Any Other Word
7
A Word Unlike Any Other A World Unlike Any Other
11
Two Different Worlds
13
Institutional Irregularities
15
Dantos Infirmities
18
Summary and Conclusion
23
Theories of Art Representation
26
A Pause for Reflection
97
Wiser ? Approaches
100
Wisdom Renounced
105
Intentions Intentionality and Artistic Communication
109
The Intentional Fallacy
110
Inside and Outside a Poem
113
The InsideOutside Distinction Evaluated
114
Originality
118

Its Origins in Ancient Greek Thought
29
Pictorial Representation During the Renaissance and Beyond
38
Pictorial Representation Recently
43
Truthful Representation in the Narrative Arts
47
Theories of Art Form
52
Formalism
54
Organicism
61
General Theory
67
Gestalt Theory and the Visual Arts
70
Gestalt Theory and Music
74
Final Thoughts
78
Theories of Art Expression
80
Thomas Reid
84
Leo Tolstoy
89
R G Collingwood
92
Arts Tragic Demise
123
The Human Factor in Art
127
Treating Works of Art as Persons
129
Universality Objectivity and the Claim of Taste
133
The Problem
134
David Hume
140
Thomas Reid
147
Immanuel Kant
156
Universality Revisited and Revised
168
A Final Thought
175
Notes
177
Bibliography
183
Index
185
About the Author
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Stran 146 - I cannot, nor is it proper I should, enter into such sentiments; and however I may excuse the poet on account of the manners of his age, I never can relish the composition. The want of humanity and of decency...
Stran 42 - Tragedy endeavours, as far as possible, to confine itself to a single revolution of the sun, or but slightly to exceed this limit ; whereas the Epic action has no limits of time.
Stran 90 - Art is a human activity, consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings, and also experience them.
Stran 9 - Philosophy may in no way interfere with the actual use of language; it can in the end only describe it. For it cannot give it any foundation either. It leaves everything as it is.
Stran 140 - Though it be certain, that beauty and deformity, more than sweet and bitter, are not qualities in objects, but belong entirely to the sentiment, intern il or external, it must be allowed, that there are certain qualities in objects, which are fitted by nature to produce those particular feelings.
Stran 102 - Such is the pattern, or logical form, of sentience; and the pattern of music is that same form worked out in pure, measured sound and silence.
Stran 14 - Of course, without the theory, one is unlikely to see it as art, and in order to see it as part of the artworld, one must have mastered a good deal of artistic theory as well as a considerable amount of the history of recent New York painting.
Stran 146 - It is not without some effort that we reconcile ourselves to the simplicity of ancient manners, and behold princesses carrying water from the spring, and kings and heroes dressing their own victuals. We may allow in general, that the representation of such manners is no fault in the author, nor deformity in the piece ; but we are not so sensibly touched with them.

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