Art and Its Significance: An Anthology of Aesthetic Theory, First EditionStephen David Ross SUNY Press, 1. jan. 1984 - 574 strani The philosophy of art, including the theory of interpretation, has been among the most generative branches of philosophy in the latter half of the twentieth century. Remarkable, interesting, and important work has emerged on both sides of the Atlantic, from all the major sources of philosophic thought. For the first time, Stephen David Ross brings together the best of recent writing with the major historical texts and the most influential works of the past century to provide valuable insight into the nature of art and how we are to understand it. The selections in this collection comprise a remarkably wide array of positions on the nature and importance of art in human experience. A wealth of material is divided into four parts. Part I from the history of philosophy includes selections by the essential writers: Plato, Aristotle, Kant, Hegel, Nietzsche. In Part II there are significant selections from Dewey, Langer, Goodman, Heidegger, and Merleau-Ponty. The major selections in Part III are from Hirsch and Gadamer on the nature of interpretation, supplemented by selections from Pepper, Derrida, and Foucault. Selections in Part IV sharpen the issues that emerge from the more theoretical discussions in the preceeding sections. Part IV includes important psychological theories, seminal proclamations by twentieth century artists, and selections from Bullough on aesthetic distance, as well as from Marcuse, who develops an important variation on the Marxist view of art. |
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Vsebina
Plato REPUBLIC II III X | 9 |
Aristotle POETICS | 69 |
NICOMACHEAN ETHICS | 79 |
Kant CRITIQUE OF JUDGMENT | 100 |
Hegel PHILOSOPHY OF FINE ART Introduction | 146 |
Nietzsche THE BIRTH OF TRAGEDY | 164 |
ATTEMPT AT A SELFCRITICISM complete | 171 |
Tolstoy WHAT IS ART? | 180 |
Gadamer TRUTH AND METHOD | 360 |
Ricoeur THE PROBLEM OF DOUBLE MEANING | 396 |
Derrida DIFFERANCE complete | 411 |
Foucault THE ORDER OF THINGS Preface | 438 |
Bullough PSYCHICAL DISTANCE AS A FACTOR | 458 |
Danto THE ARTWORLD complete | 470 |
Margolis THE ONTOLOGICAL PECULIARITY | 483 |
FREUD JUNG VYGOTSKY | 492 |
Bell ART | 188 |
Collingwood PRINCIPLES OF ART | 194 |
Dewey ART AS EXPERIENCE | 206 |
Langer FEELING AND FORM | 225 |
Goodman WHEN IS ART? complete | 241 |
LANGUAGES OF ART | 251 |
Heidegger THE ORIGIN OF THE WORK OF ART | 258 |
MerleauPonty EYE AND MIND | 289 |
Pepper THE WORK OF ART | 336 |
Jung PSYCHOLOGY AND LITERATURE complete | 501 |
Vygotsky THE PSYCHOLOGY OF ART | 516 |
ARTISTS DECLARATIONS | 530 |
Boccioni TECHNICAL MANIFESTO | 536 |
Malevich SUPREMATISM complete | 543 |
Kandinsky CONCRETE ART complete | 550 |
LeWitt SENTENCES ON CONCEPTUAL ART complete | 569 |
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Art and Its Significance: An Anthology of Aesthetic Theory, Third Edition Stephen David Ross Omejen predogled - 1994 |
Art and Its Significance: An Anthology of Aesthetic Theory, First Edition Stephen David Ross Omejen predogled - 1984 |
Pogosti izrazi in povedi
abstract abstract art abstract particular actual Adeimantus artist beautiful becomes Brillo box called character cognitive color concept consciousness contrast created creation criticism determined Dionysian element emotion essential existence experience expression external fact faculty feeling figurative art function genius Glaucon hermeneutics Hesiod Homer human idea imagination imitation individual inexhaustibility interpretation judge judgment of taste Kant kind language lexemes logical manifest material matter meaning merely mind modes of judgment moral nature Nelson Goodman never object ontological painter painting particular person philosophy picture plastic Plato play pleasure poem poet poetry polysemy possible present principle problem produced pure question R. G. Collingwood reality reason relation representation represented sculpture semantic sense sensuous significance Socrates Sol LeWitt space speak spirit Suprematism Suprematist symbol theory things thought tragedy true truth understanding universal validity visible W. D. Ross word