Arguing about art : contemporary philosophical debates / [compiled by] Alex Neill, Aaron Ridley
- Published:
- New York : McGraw-Hill, [1995]
- Copyright Date:
- ©1995
- Physical Description:
- xv, 346 pages ; 23 cm
- Additional Creators:
- Neill, Alex and Ridley, Aaron
- Contents:
- 1. Fakes and forgeries. Would we be justified in revising our aesthetic judgment of a work of art after learning that it is a fake? -- In what ways does (or should) our knowledge that an artwork is an original bear upon our aesthetic valuation of it? -- Alfred Lessing, "What is wrong with a forgery?" -- Denis Dutton, "Artistic crimes" -- 2. Colorizing movies. Does converting a black-and-white movie into color without the director's permission violate his or her right as an artist? -- Is colorizing a movie a form of vandalism? -- Would forbidding the colorization of movies do more to protect or to limit artistic freedom? -- James O. Young, "In defense of colorization" -- Jerrold Levinson, "Colorization ill-defended" -- Flo Leibowitz, "Movie colorization and the expression of mood" -- James O. Young, "Still more in defense of colorization" -- 3. The "authentic" performance of music. What is it to give an "authentic" performance of a piece of music? -- Is it possible to reproduce the way a piece of music would have been performed when it was composed? -- Would an "authentic" performance have any aesthetic advantages? -- Stephen Davies, "Authenticity in musical performance" -- James O. Young, "The concept of authentic performance" -- 4. Photography and representation. Are we interested in photographs for their own sake, or are we interested in photographs only for the sake of what they are photographs of? -- Is photography a representational art form? -- How does aesthetic appreciation of photographs differ from aesthetic appreciation of paintings? -- Roger Scruton, "Photography and representation" -- William L. King, "Scruton and reasons for looking at photographs" -- 5. Appreciation, understanding, and nature. Are there correct and incorrect ways of appreciating nature and appreciating works of art? -- How does our aesthetic appreciation of nature differ from our aesthetic appreciation of works of art? -- Allen Carlson, "Appreciation and the natural environment" -- Noel Carroll, "On being moved by nature : between religion and natural history." and 6. Feelings and fiction. Fictional characters aren't real. So why should we care about what happens to them? -- Is it rational to be moved by what we know it not real? -- What sorts of state are we moved to when we are moved by fiction? -- Colin Radford, "How can we be moved by the fate of Anna Karenina?" -- Alex Neill, "Fiction and the emotions" -- 7. The pleasures of tragedy. Why is it that we take such delight in artworks (tragedies, horror movies, certain pieces of music) which seem designed to make us experience feelings and emotions such as fear, revulsion, and sadness? -- David Hume, "Of tragedy" -- Susan L. Feagin, "The pleasures of tragedy" -- 8. Sentimentality. What makes an artwork, or a response to an artwork, sentimental? -- Is sentimental art always bad art? -- What makes sentimentality objectionable, when it is? -- Is sentimentality ever appropriate in a work or a response? -- Anthony Savile, "Sentimentality" -- Ira Newman, "The alleged unwholesomeness of sentimentality" -- 9. Musical profundity. What is it for a work of art to be a profound work? -- Could music ever be profound? -- What sort of experience is the experience of profound works of art? -- Why do we regard profundity as one of the most important qualities a work of art can have? -- Peter Kivy, "The profundity of music" -- Jerrold Levinson, "Musical profundity misplaced" -- Aaron Ridley, "Profundity in music" -- 10. Feminism and aesthetics. Are there distinctively feminist ways of thinking philosophically about art? -- If there are, what challenges do they pose to traditional aesthetics? -- How might aesthetics evolve in response to the insights of feminist theory? -- Mary Devereaux, "Oppressive texts, resisting readers and the gendered spectator : the new aesthetics" -- Curtis Brown, "Art, oppression, and the autonomy of aesthetics" -- 11. The idea of the museum. Do museums distort the significance of art by detaching it from ordinary human experience? -- Or do museums rather make art available to many who would not otherwise be able to experience it? -- What should a good museum be like? -- John Dewey, "The live creature" -- Albert William Levi, "The art museum as an agency of culture."
- Summary:
- This volume is an anthology that presents 11 topics or debates in the philosophy of art, some of these issues have only recently emerged, whilst others have been debated for centuries. Each chapter contains two or more articles on the topic, preceded by a short introduction to the topic and followed by a select bibliography. A wide range of art forms are covered, as is the topic of appreciating nature.
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- Other Subject(s):
- ISBN:
- 0070461910 (acid-free paper)
9780070461918 (acid-free paper) - Bibliography Note:
- Includes bibliographical references.
- Action Note:
- committed to retain 20170930 20430101 HathiTrust https://www.hathitrust.org/shared_print_program
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