Aesthetics and the philosophy of art the analytic tradition an anthology 2nd Edition by Lamarque,Stein Haugom Olsen 9781119222446 1119222443

Part I: Identifying Art

1 The Artworld

2 The New Institutional Theory of Art

3 An Aesthetic Definition of Art

4 “But They Don’t Have Our Concept of Art”

5 Nobody Needs a Theory of Art

I. From Kristeller to Testadura

II. The State of the Art

III. What We Need

IV. What We Can Have

V. Conclusion

6 Art

Introduction

1. Functionalist Approaches

2. Procedural Approaches

3. Recent Approaches

4. Institutions and Institutional Facts

5. The Function of Art Institutions

6. A New Institutional Definition of Art

7. Artistic Value

Conclusion

References

Part II: Ontology of Art

7 What a Musical Work Is

8 Defending Musical Platonism

I.  Introduction: The Simple View and the Argument from Creatability

II.  Composition as Creative Discovery

III.  Properties and Types

IV.  Types, Indicated Types and Patterns

V.  Conclusion

9 Against Musical Ontology

10 The Ontology of Art and Knowledge in Aesthetics

I.  The Ontology of Art

II.  Epistemic and Methodological Consequences

III.  Ontological Shallowness and the Limits of Knowledge

IV.  Conclusion

Part III: Aesthetic Properties and Aesthetic Experience

11 Aesthetic Concepts

12 Categories of Art

I.  Introduction

II.  Standard, Variable, and Contra‐standard Properties

III.  A Point about Perception

IV.  Truth and Falsity

V.  Conclusion

13 In Defence of Moderate Aesthetic Formalism

I. Formal Properties and Formalisms

II. Representation, Contextuality and Tactical Retreat

III. ‘Guernica’ and Guernicas

IV. Walton’s Other Examples

Coda

14 How to Be a Pessimist about Aesthetic Testimony

15 Recent Approaches to Aesthetic Experience

I.  Introduction

II.  Valuing Approaches

III.  Expanding the Aesthetic

IV.  Embodiment and Aesthetic Experience

Part IV: Intention and Interpretation

16 Intentions and Interpretations: A Fallacy Revived

17 The Literary Work as a Pliable Entity: Combining Realism and Pluralism

18 Authors’ Intentions, Literary Interpretation, and Literary Value

I.  Actual Intentionalism

II.  Hypothetical Intentionalism

III.  Hypothetical Intentionalism and the Value‐Maximizing Theory

IV.  Objections to the Value‐Maximizing Theory (and to Hypothetical Intentionalism)

V.  Closing Remarks

Part V: Values of Art

19 Originals, Copies, and Aesthetic Value

20 Artistic Value

Artistic and Non‐artistic Values

Intrinsic and Instrumental Values

Aestheticism, Artist and Spectator

Acquaintance

Art and Communication

Intersubjectivity, Criticism, Understanding and Incommensurability

21 The Ethical Criticism of Art

Ethicism

Objections to Ethicism

Some Arguments for Ethicism

The Merited‐Response Argument

Objections to the Argument

22 Artistic Value and Opportunistic Moralism

Moral Flaws and Artistic Value

Accommodating Nonprescribed Responses

The Contingency of Moral Value as Artistic Value

References

23 What’s Wrong with the (Female) Nude? A Feminist Perspective on Art and Pornography

1. Basic Formulation of the Feminist Critique

2. Sexually Objectifying Pictures

3. The Male Gaze

4. Types, not Tokens

5. What’s Wrong with Sexual Objectification?

6. Concluding Thoughts about Art and Pornography

Part VI: Art and Knowledge

24 On the Cognitive Triviality of Art

25 Art and Moral Knowledge

Art and Cognition

Formalist Autonomy Theories of Artistic and Moral Value

Moralism

Cognitivism

Nussbaum’s Aristotelianism

Putnam’s Pragmatism

Conclusion

26 Reading Fiction and Conceptual Knowledge: Philosophical Thought in Literary Context

I. Other Models of Fiction and Conceptual Knowledge

II. “Wants”

III. Wanting the Impossible

IV. Wanting and Evaluation

V. The Literary Context of Conceptual Investigation

27 Cognitive Values in the Arts: Marking the Boundaries

Cognitivism Across the Arts

Representation and Truth

Literature and Cognition

Literary Appreciation and the Bounds of Critical Practice

Literary Themes

The Problem of Falsehood

References

Part VII: Fictionality and Imagination

28 Fearing Fictions

29 The Logical Status of Fictional Discourse

30 The Expression of Feeling in Imagination

31 The Puzzle of Imaginative Resistance

I.  Overview of the Puzzle

II.  Belief and Make‐Belief

III.  The Asymmetry

IV.  The Impossibility Hypothesis

V.  imaginable Conceptual Impossibilities

VI.  Other Sources of Imaginative Resistance

VII.  Genre and the Laws of Import–Export

VIII.  Conclusion

32 Anne Brontë and the Uses of Imagination

Imagination and Simulation

Fiction and Real Life

Empathy

Empathizing with Characters

References

33 Fiction as a Genre

I.  Overview

II.  Standard Theories of Fiction

III.  Criteria of Classification

IV.  Effects of Classification

V.  Conclusion

References

Part VIII: Pictorial Art

34 On Pictorial Representation

35 Pictorial Realism

Introduction

I.  The Epistemic Role of Realistic Pictures

II.  Features of Realism

III.  Accounts of Realism and Accounts of Depiction

IV.  Three Informational Accounts of Realism

V.  Realism as Informativeness about Appearance

Conclusion

References

36 Telling Pictures

References

Part IX: Photography and Film

37 Photography and Representation

38 Photography and Causation

39 Cinematic Art

I.  The Causal Challenge

II.  The Reproduction Challenge

III.  Conclusion: Film and Communication

40 Theses on Cinema as Philosophy

I.  Constituents of a Bold Epistemic Thesis

II. A Dilemma for the Bold Thesis

III.  Cinema in the Context of Philosophical Inquiry

IV.  Coda

41 Narration in Motion

Film and Experiential Imagining

The Phenomenology of the Moving Frame: Illusions and Imaginings

The Moving Frame and the Cinematic Narrator

Conclusion

Part X: Literature

42 Style and Personality in the Literary Work

Introduction

I.  Style As The Expression of Personality

II. The Personality of the Implied Author

III.  An Objection Considered

IV.  Some Problems Resolved

43 Literary Aesthetics and Literary Practice

44 Fictional Characters and Literary Practices

I.  Introduction

II.  The Nature of Fictional Characters

III.  The Existence of Fictional Characters

IV.  The Limits of a Theory of Fiction

V.  Conclusion

45 The Elusiveness of Poetic Meaning

Part XI: Music

46 The Profundity of Music

47 Against Emotion

I.  Possessing Emotion?

II.  Arousing Emotions?

III.  Arousing Moods?

IV.  Expressing Emotion?

V.  Representing Emotion?

Coda

48 Listening with Emotion

Being Moved by Music: The Kivy Emotions

Feeling What the Music Expresses: Aaron Ridley

Listening with Imagination: Kendall Walton

Bewilderment, Surprise, and Relief: The Meyer Emotions

How Emotions Help Us Understand Musical Expressiveness

Krumhansl’s Experiment

Going with the Flow

Part XII: Popular Arts

49 Defining Mass Art

50 Just a Song? Exploring the Aesthetics of Popular Song Performance

Comics as Literature?

Introduction

Categorization and/or Value?

Are Comics Literature? The State of the Debate

A Few Points About the ‘Comics as Literature’ Question

For Comics as Literature

Against Comics as Literature

Resolving an Impasse: Comics as a Hybrid

Towards a Conclusion: What Matters?

52 The Vice of Snobbery

I.  Characterizing Snobbery

II.  The Pervasiveness of Snobbery in the Aesthetic Realm

III.  Relationality

IV.  The Refinement of Appreciation

V.  The Role of Pleasure

VI.  The Challenge

VII.  The Vice of Snobbery and Virtuous Appreciation

VIII. Aesthetic Angst About Reliable Snobs

IX.  Conclusion and Implications for Contemporary Aesthetics

Part XIII: Aesthetics of Nature and Everyday Aesthetics

53 Appreciation and the Natural Environment

54 Scientific Knowledge and the Aesthetic Appreciation of Nature

55 Aesthetic Character and Aesthetic Integrity in Environmental Conservation

I.  The Harris Superquarry

II.  Aesthetic Character

III. Aesthetic Character and Conservation

IV.  Aesthetic Integrity

V.  Conclusion

56 Everyday Aesthetics

57 The Pervasiveness of the Aesthetic in Ordinary Experience

I.  Aesthetic Considerations in Everyday Life

II.  Dewey and the Notion of an Experience

III.  Conscious Experience, Attention, and the Aesthetic

IV.  Structure and the Aesthetic: Unity, Closure, and Complexity

V.  The Importance of Aesthetic Attention to the Everyday

VI.  Harnessing the Aesthetic in Service of the Moral

VII.  Conclusion