Results for 'philosophy of art'

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  1. Paths from the Philosophy of Art to Everyday Aesthetics.Oiva Kuisma, Sanna Lehtinen & Harri Mäcklin (eds.) - 2019 - Helsinki, Finland: Finnish Society for Aesthetics.
    During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of (...)
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  2. CPHL504 Philosophy of Art I Photocopy Packet (edited by V.I. Burke).Victoria I. Burke (ed.) - 2014 - Toronto, anada: Ryerson University.
    This collection of writings on aesthetics includes selections from Theodor Adorno, Walter Benjamin, Mikhail Bakhtin, Sigmund Freud, Martin Heidegger, Amy Mullin, Friedrich Nietzsche, and Frederich Wilhelm Joseph von Schelling. This collection may still be available as a print-on-demand title at the Ryerson University bookstore.
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  3. A Philosophy of Art in Plato's Republic: An Analysis of Collingwood's Proposal.José Juan González - 2010 - Proceeding of the European Society for Aesthetics 2:161-177.
    The status of art in Plato's philosophy has always been a difficult problem. As a matter of fact, he even threw the poets out from his ideal state, a passage that has led some interpreters to assess that Plato did not develop a proper philosophy of art. Nevertheless, R. G. Collingwood, wrote an article titled “Plato's Philosophy of Art”. How can it be? What could lead one of the most important aesthetic scholars of the first half of (...)
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  4. Women on Philosophy of Art: Britain 1770-1900.Alison Stone - 2024 - Oxford: Oxford University Press.
    Introduces seven women philosophers of art from long nineteenth-century Britain including Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee Traces a logical progression amongst these women's views as they grappled with art's relations to morality and religion Shows that these women were well-known in their time and played important roles in establishing British philosophy of art Expands the rediscovery of women philosophers to a neglected area, philosophy of art.
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  5. Sanat Felsefesi Açısından Doğan Kuban: Mimarlık Tarihinden Türk Sanatının İlkelerine / Doğan Kuban In Terms of Philosophy of Art: From The History of Architecture to The Principles of Turkish Art.Ömür Karslı - 2023 - Tasarım+Kuram 19 (140. Yıl):20-37.
    In this article the possibilities of expanding the boundaries of the knowledge and tradition of art philosophy in Turkey through the works of names outside the discipline of philosophy are investigated. For this purpose the production of architectural historian Doğan Kuban is discussed. Kuban’s works are evaluated from a philosophical perspective and it is tried to justify that they should be included in the philosophy of art literature. It has been accepted by the researchers that aesthetics/philosophy (...)
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  6. Andina, Tiziana. The Philosophy of Art: The Question of Definition—From Hegel to Post‐Dantian Theories, trans. Natalia Iacobelli, New York: Bloomsbury, 2013, 190 pp., 5 b&w illus., $37.95 paperback, $120.00 cloth. [REVIEW]Michel-Antoine Xhignesse - 2016 - Journal of Aesthetics and Art Criticism 74 (1):106-108.
    A review of Tiziana Andina's The Philosophy of Art: The Question of Definition: From Hegel to Post-Dantian Theories (Bloomsbury 2013).
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  7. This Is Art: A Defence of R. G. Collingwood's Philosophy of Art.James Camien McGuiggan - 2017 - Dissertation, University of Southampton
    R. G. Collingwood’s 'The Principles of Art' argues that art is the expression of emotion. This dissertation offers a new interpretation of that philosophy, and argues that this interpretation is both hermeneutically and philosophically plausible. The offered interpretation differs from the received interpretation most significantly in treating the concept of ‘art’ as primarily scalarly rather than binarily realisable (this is introduced in ch. 1), and in understanding Collingwood’s use of the term ‘emotion’ more broadly (introduced in ch. 2). -/- (...)
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  8. (2 other versions)Aesthetic Gestures: Elements of a Philosophy of Art in Frege and Wittgenstein.Nikolay Milkov - 2019 - In Newton Da Costa & Shyam Wuppuluri (eds.), Wittgensteinian : Looking at the World From the Viewpoint of Wittgenstein's Philosophy. Springer Verlag. pp. 506-18.
    Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...)
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  9. THE END OF ART AND PATOČKA's PHILOSOPHY OF ART.Josl Jan - 2016 - HORIZON. Studies in Phenomenology 1 (1):232-246.
    In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay I seek (...)
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  10. Artificial Intelligence as Art – What the Philosophy of Art can offer the understanding of AI and Consciousness.Hutan Ashrafian - manuscript
    Defining Artificial Intelligence and Artificial General Intelligence remain controversial and disputed. They stem from a longer-standing controversy of what is the definition of consciousness, which if solved could possibly offer a solution to defining AI and AGI. Central to these problems is the paradox that appraising AI and Consciousness requires epistemological objectivity of domains that are ontologically subjective. I propose that applying the philosophy of art, which also aims to define art through a lens of epistemological objectivity where the (...)
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  11. The Aesthetic Creation Theory of Art.Rafael De Clercq - 2009 - Sztuka I Filozofia (Art and Philosophy) 35:20-24.
    This is a critical discussion of Nick Zangwill’s Aesthetic Creation Theory of Art, as presented in his book Aesthetic Creation. The discussion focuses on two questions: first, whether the notion of art implied by Zangwill’s theory is at once too wide and too narrow; second, whether Zangwill is right about the persistence conditions of works of art.
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  12. Iconology and Formal Aesthetics: A New Harmony. A Contribution to the Current Debate in Art Theory and Philosophy of Arts on the (Picture-)Action-Theories of Susanne K. Langer and John M. Krois.Sauer Martina - 2016 - Sztuka I Filozofia (Art and Philosophy), Warschau 48:12-29.
    Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...)
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  13. Between Philosophy and Art.Jennifer A. McMahon, Elizabeth B. Coleman, David Macarthur, James Phillips & Daniel von Sturmer - 2016 - Australasian Journal of Popular Culture 5 (2/3):135-150.
    Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...)
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  14. Philosophy’s Artful Conversation, by D. N. Rodowick. [REVIEW]Timothy Yenter - 2016 - Teaching Philosophy 39 (4):565-567.
    Philosophy’s Artful Conversation draws on Gilles Deleuze, Stanley Cavell, and the later writing by Ludwig Wittgenstein to defend a “philosophy of the humanities.” Both because film studies is historically a site of contention and theoretical upheaval and because Rodowick accepts Cavell’s idea that (at least in the American context) film is philosophy made ordinary, bringing philosophical questions of skepticism and perfectionism into filmgoers’ lives inescapably, it makes sense to build this vision for the humanities out of writing (...)
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  15. Philosophy of games.C. Thi Nguyen - 2017 - Philosophy Compass 12 (8):e12426.
    What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...)
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  16. Cinematic street art? Exploring the limits of the philosophy of street art.Logan Canada-Johnson - 2023 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 16 (1):105-115.
    As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required in order (...)
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  17. Gill, Michael B. A Philosophy of Beauty: Shaftesbury on Nature, Virtue, and Art. Princeton: Princeton University Press 2022, 238 pp. [REVIEW]Ruth Boeker - 2024 - Archiv für Geschichte der Philosophie 106 (3):660-664.
    Michael B. Gill’s A Philosophy of Beauty: Shaftesbury on Nature, Virtue, and Art focuses on Shaftesbury’s thinking about nature, religion, morality, and art. This beautifully and engagingly written book is insightful for scholars and general readers alike, and invites readers to explore the philosophical issues that arise from Shaftesbury’s philosophy. Gill not only shows how Shaftesbury’s ideas were revolutionary at the turn of the eighteenth century but also how they remain relevant today. Shaftesbury’s major work, Characteristicks of Men, (...)
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  18. Hegel's End of Art and the Artwork as an Internally Purposive Whole.Gerad Gentry - 2023 - Journal of the History of Philosophy 61 (3):473-498.
    Abstractabstract:Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel is (...)
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  19. Kierkegaard on the Value of Art: An Indirect Method of Communication.Antony Aumann - 2019 - In Patrick Stokes, Eleanor Helms & Adam Buben (eds.), The Kierkegaardian Mind. New York: Routledge. pp. 166-176.
    Like many 19th c. thinkers, Kierkegaard embraces a cognitivist view of art. He thinks works of art matter because they can teach us in important ways. This chapter defends two striking features of Kierkegaard’s version of this theory. First, works of art do not teach “directly” by telling us truths and offering us evidence. Instead, they educate us “indirect-ly” by helping us make our own discoveries. Second, the fact that art does not teach in a straightforward manner is no defect. (...)
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  20. Speculations Essays on Humanism and the Philosophy of Art. Edited by Herbert Read.T. E. Hulme - 1936 - Harcourt, Brace.
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  21.  74
    Vindicating the Historical Condition of Art and its Consequences: Hegel’s Influence on Danto’s Philosophical System.Raquel Cascales - 2022 - Rivista di Estetica 79:121-136.
    While Hegel’s influence on Arthur Danto has been examined in relation to specific parts of his thought, an overall analysis of said influence is still wanting. In this article, I analyze the presence of Hegelian influence in Danto’s complete thought from three perspectives: (1) Danto’s acceptance of Hegelian assumptions when it comes to the conception of history, narrative realism and historical progress, which allows him to combine timeless essentialism with historicism, (2) the cognitive aspect of art and the conception of (...)
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  22. Toward Philosophy of Science’s Social Engagement.Angela Potochnik & Francis Cartieri - 2013 - Erkenntnis 79 (Suppl 5):901-916.
    In recent years, philosophy of science has witnessed a significant increase in attention directed toward the field’s social relevance. This is demonstrated by the formation of societies with related agendas, the organization of research symposia, and an uptick in work on topics of immediate public interest. The collection of papers that follows results from one such event: a 3-day colloquium on the subject of socially engaged philosophy of science (SEPOS) held at the University of Cincinnati in October 2012. (...)
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  23. Playing The Game After The End Of Art: Comments For Hans Maes.Kalle Puolakka - 2005 - Postgraduate Journal of Aesthetics 2 (1):12-19.
    In his philosophy of art history, Arthur C. Danto claims that in the 1960 ́s the master narrative of art had come to an end, and that we had reached the end of art. This conception has been widely considered, but also misunderstood. Hans Maes has recently discussed Danto's conception of the end of art in his article, where he clears some misconceptions about the thesis, but at the same time challenges Danto's analysis of contemporary art.
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  24. The Double Content of Art.John Dilworth - 2005 - Amherst, NY: Prometheus Books.
    The Double Content view is the first comprehensive theory of art that is able to satisfactorily explain the nature of all kinds of artworks in a unified way — whether paintings, novels, or musical and theatrical performances. The basic thesis is that all such representational artworks involve two levels or kinds of representation: a first stage in which a concrete artifact represents an artwork, and a second stage in which that artwork in turn represents its subject matter. "Dilworth applies his (...)
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  25. Philosophy of perception as a guide to aesthetics.Bence Nanay - 2014 - In Greg Currie, Matthew Kieran, Aaron Meskin & Jon Robson (eds.), Aesthetics and the Sciences of Mind. New York, NY: Oxford University Press.
    The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what I mean (...)
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  26. H.P. Lovecraft’s Philosophy of Science Fiction Horror.Greg Littmann - 2018 - Science Fictions Popular Cultures Academics Conference Proceedings 1 (2):60-75.
    The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, a philosophy of science fiction (...)
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  27. The Relevancy of Art and Time in Heidegger's Philosophy.Eray Sariot - 2008 - Dissertation, Metu
    This paper aims at propounding possible relations between the concepts of time and art in Martin Heidegger’s thinking. Time and art which hold a central place in different periods of Heidegger’s thinking in line with his fundamental question of Being are considered together mainly through the analysis of artwork’s temporal characteristics. The temporality of the artwork in question is investigated specifically in terms of its basic elements of earth and world and with its relation to authenticity. In this respect, it (...)
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  28. Why Joseph Margolis Has Never Been an Analytic Philosopher of Art.Roberta Dreon & Francesco Ragazzi - 2022 - JOLMA - The Journal for the Philosophy of Language, Mind, and the Arts 3 (2):333-364.
    In this paper, we support a continuistic reading of Joseph Margolis' philosophy, defending the claim that in the 1970s, Margolis tackled the issues suggested by the analytic philosophy of art from an original theoretical perspective and through conceptual tools exceeding the analytical framework. Later that perspective turned out to be a radically pragmatist one, in which explicitly tolerant realistic claims and non-reductive naturalism converged with radical historicism and contextualism. We will endorse this thesis by focusing on two important (...)
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  29.  99
    Levinas and the Faces of Art.Alexander Öhman & Natan Elgabsi - 2024 - Scientia Moralitas 9 (1):161-168.
    Does art have ethical possibilities? Can literature disclose our responsibilityfor other people? This short text aims to unfold some nuances of responsible and irresponsible art as they appear in Emmanuel Levinas's sparse remarks on aesthetics. We examine some common ways of conceiving Levinas's thoughts in literary studies, followed by a closer discussion of his ideas on the possibilities of art in "Reality and Its Shadow" and his late interviews on Vasily Grossman and Sacha Sosno.
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  30. Philosophy of Dance and Disability.Joshua M. Hall - 2018 - Philosophy Compass 13 (12):e12551.
    The emerging field of the philosophy of dance, as suggested by Aili Bresnahan, increasingly recognizes the problem that (especially pre‐modern) dance has historically focused on bodily perfection, which privileges abled bodies as those that can best make and perform dance as art. One might expect that the philosophy of dance, given the critical and analytical powers of philosophy, might be helpful in illuminating and suggesting ameliorations for this tendency in dance. But this is particularly a difficult task (...)
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  31. The Buck Passing Theory of Art.James O. Young - 2016 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 3 (4): 421-433.
    In Beyond Art (2014), Dominic Lopes proposed a new theory of art, the buck passing theory. Rather than attempting to define art in terms of exhibited or genetic featured shared by all artworks, Lopes passes the buck to theories of individual arts. He proposes that we seek theories of music, painting, poetry, and other arts. Once we have these theories, we know everything there is to know about the theory of art. This essay presents two challenges to the theory. First, (...)
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  32. The works of art from the philosophically innocent point of view.Gábor Bács & János Tőzsér - 2012 - Hungarian Philosophical Review 57 (4):7-17.
    the Mona Lisa, the Mondscheinsonate, the Chanson d’automne are works of art, the salt shaker on your table, the car in your garage, or the pijamas on your bed are not. the basic question of the metaphysics of works of art is this: what makes a thing a work of art? that is: what sort of property do works of art have in virtue of which they are works of art? or more simply: what sort of property being a work (...)
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  33. Philosophy as Art in Aristotle’s Protrepticus.Refik Güremen - 2020 - Metaphilosophy 51 (4):571-592.
    Observing certain affinities with Plato’s Alcibiades I , this paper argues that a distinction between care (epimeleia ) of the soul and philosophy as its art (technê ) is reflected in Aristotle’s Protrepticus . On the basis of this distinction, it claims that two notions of philosophy can be distinguished in the Protrepticus : philosophy as epistêmê and philosophy as technê . The former has the function of contemplating the truth of nature, and Aristotle praises it (...)
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  34. Toward an Epistemology of Art.Arnold Cusmariu - 2016 - Symposion: Theoretical and Applied Inquiries in Philosophy and Social Sciences 3 (1):37-64.
    An epistemology of art has seemed problematic mainly because of arguments claiming that an essential element of a theory of knowledge, truth, has no place in aesthetic contexts. For, if it is objectively true that something is beautiful, it seems to follow that the predicate “is beautiful” expresses a property – a view asserted by Plato but denied by Hume and Kant. But then, if the belief that something is beautiful is not objectively true, we cannot be said to know (...)
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  35. Philosophie comme art dans le Protreptique d'Aristote.Refik Güremen - 2020 - In Pierre Pellegrin & Françoise Graziani (eds.), L'HÉRITAGE D'ARISTOTE AUJOURD'HUI : NATURE ET SOCIÉTÉ. Alessandria: Editzioni dell'Orso. pp. 231-247.
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  36. The philosophy of laughter in Moliere’s Theatre (the case study: The Miser).Mohammadi-Aghdash Mohammad - 2024 - Journal of Philosophical Investigations 18 (46):345-362.
    The exploration of laughter’s philosophical significance within the realm of performing arts, particularly the French classical theatre of the seventeenth century, reveals a profound connection to the comedic genre. This literary form, characterized by its gentle yet satirical nature, aims to critique and amend the behavioral and societal flaws of individuals. It often portrays a protagonist whose moral attributes and actions defy societal norms, depicted on stage in an exaggerated manner, amplified and interwoven with theatrical techniques such as verbal wit, (...)
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  37. Cultural Identity of Art Works.Curtis Carter, Disikate Ke, Min Yu & Chengji Liu - unknown
    Nelson Goodman (1906-2007) approached the arts and other kinds of knowledge as forms of symbolism. His principal aim in philosophy was to advance understanding and remove confusions by verbal analysis and logical constructions. Goodman's philosophical theories encompass nominalism, constructivism and a version of radical relativism. In his Languages of Art, Goodman sets forth distinctions among the various art according to differences in the forms of symbols employed. He contributed as well to arts education and to philosophy of the (...)
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  38. Philosophy of Aristotle.Thornton Lockwood - manuscript
    In the Symposium, Plato has Socrates claim that the priestess Diotima once claimed that Eros is a lover of wisdom or someone who is “in between wisdom and ignorance. In fact, you see, none of the gods loves wisdom or wants to become wise—for they are wise—and no one else who is wise loves wisdom.” Perhaps the best starting point for understanding the philosophy of Aristotle is that in principle, he rejects Diotima’s etymological wordplay that claims that philosophy (...)
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  39.  77
    REALISM IN ART AND REALISM OF ART / РЕАЛИЗМ В ИСКУССТВЕ И РЕАЛИЗМ ИСКУССТВА.Pavel Simashenkov - 2024 - Актуальные Вопросы Культуры, Искусства, Образования 40 (№ 2):75-82.
    The article analyzes the aesthetic content of the concept of realism in stylistic, genre and ideological aspects. Guided by the comparative method and a comprehensive approach to the study of the problem, the author declares the a priori avant-garde nature of art and, as a result, the groundlessness of confrontation between realists and avant-gardists. The catharsis achieved by the realism of expressive means should be real. Thus, the author's vision of realism presupposes not so much the harmony of art with (...)
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  40. The philosophy of tragedy : the tragedy of philosophy : the mimetic interrelationship of tragedy and philosophy in the theoretical writings of Friedrich Hölderlin.Helen Christine Chapman - unknown
    This study investigates Phillipe Lacoue-Labarthe's claim in "The Caesura of the Speculative" that Hölderlin is a "modern" writer. Its aim is to establish what is at stake in this claim and to evaluate whether it can be substantiated. In Chapter One I discuss the relationship between tragedy and philosophy. I show that the uneasy relationship between philosophy and the arts is premised upon Plato's understanding and judgement of mimesis. I contrast Plato and Aristotle's treatment of poetry by examining (...)
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  41. The Development of the Sense of 'the End of Art’ in Arthur Danto.Raquel Cascales - 2018 - Rivista di Estetica 68 (2):131-148.
    The striking title The End of Art managed to draw attention to the philosophical work of Arthur Danto. However, the lack of a systematic development which could support this thesis made him face harsh criticism. However, strong foundations for his statements can be deduced from his writings. In this paper, I analyse how to understand the thesis of the ‘end of art’. It should be approached not as a monolitical notion but as a complex concept that combines three different senses: (...)
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  42. The "Work" of Art: Stanisław Brzozowski and Bernard Stiegler.Adrian Mróz - 2021 - Humanities and Social Sciences 28 (3):39-48.
    This article relates the ideas of Stanisław Brzozowski (1878-1911) with those of Bernard Stiegler (1952-2020), both of whom problematize the "work" of art understood as a labor practice. Through the conceptual analysis of epigenetics and epiphylogenetics for aesthetic theory, I claim that both thinkers develop practical concepts relevant to contemporary art philosophy. First, I present an overview of Brzozowski's aesthetics, for whom literature and the arts are linked with ethics, and aesthetic form is tied with moral judgment. Then, I (...)
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  43. A proposal for a dualistic ontology of art.Simon Fokt - 2013 - Sztuka I Filozofia (Art and Philosophy) (42):29-47.
    While pluralism in ontology of art improves on various monistic views, through its eclectic approach it lost a lot of their simplicity, parsimony, unity and intuitiveness. The dualistic theory presented in this paper offers an alternative – it shares the advantages of the monistic views while retaining the wide scope of pluralism, and thus should be preferred for methodological reasons. On this view all artworks are at the same time abstract universals which are called recipes, and particular physical objects – (...)
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  44. The End of Art: Hegel’s Appropriation of Artistotle’s Nous.Stephen Snyder - 2006 - Modern Schoolman 83 (4):301-316.
    This article investigates a tension that arises in Hegel’s aesthetic theory between theoretical and practical forms of reason. This tension, I argue, stems from Hegel’s appropriation of an Aristotelian framework for a historically unfolding social teleology which puts practical reason to work for the aims of theoretical reason. Recognizing that this aspect of Hegel’s dialectic is essential in overcoming problems left in Kant’s transcendental idealism, the appearance of incongruence does not lessen. Grouped together with absolute spirit, Hegel positions art as (...)
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  45. Arthur Danto and the End of Art.Raquel Cascales - 2019 - Newcastle upon Tyne, Reino Unido: Cambridge Scholar Publishing.
    To get a comprehensive understanding of the core concept of “the end of art”, this book analyses the intellectual trajectory of Arthur Danto, highlighting his successive achievements in philosophy of action, philosophy of history and philosophy of art. If, as Danto says, everything is extensively associated with everything else, it is impossible to avoid putting the philosophy of art in relation with his whole philosophical system. -/- .
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  46. "And Why Not?" Hegel, Comedy, and the End of Art.Lydia L. Moland - 2016 - Verifiche: Rivista Trimestrale di Scienze Umane (1-2):73-104.
    Towards the very end of his wide-ranging lectures on the philosophy of art, Hegel unexpectedly expresses a preference for comedy over tragedy. More surprisingly, given his systematic claims for his aesthetic theory, he suggests that this preference is arbitrary. This essay suggests that this arbitrariness is itself systematic, given Hegel’s broader claims about unity and necessity in art generally and his analysis of ancient as opposed to modern drama in particular. With the emergence of modern subjectivity, tragic plots lose (...)
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  47. Margaret Macdonald on the Definition of Art.Daniel Whiting - 2022 - British Journal for the History of Philosophy 30 (6):1074-1095.
    In this paper, I show that, in a number of publications in the early 1950s, Margaret Macdonald argues that art does not admit of definition, that art is—in the sense associated with Wittgenstein—a family resemblance concept, and that definitions of art are best understood as confused or poorly expressed contributions to art criticism. This package of views is most typically associated with a famous paper by Morris Weitz from 1956. I demonstrate that Macdonald advanced that package prior to Weitz, indeed, (...)
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  48.  53
    The Aesthetic Intelligibility of Artefacts: Schelling’s Concept of Art in the System of Transcendental Idealism.Giacomo Croci - 2024 - Estetika: The European Journal of Aesthetics 61 (2):158-175.
    The article reassesses Schelling’s philosophy of art in the System of Transcendental Idealism, focusing on its practical philosophy and the concept of the artefact. Often unexplored, this perspective offers a new account of Schelling’s early aesthetics, linking aesthetic experience to historical becoming. The discussion begins with an analysis of Schelling’s theory of intentional action, followed by a reconstruction of his understanding of artefact. It argues that Schelling integrates both social and material dimensions into his concept of artefacts. The (...)
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  49. THE PHILOSOPHY OF GILLES DELEUZE - ALEXIS KARPOUZOS.Alexis Karpouzos - 2024 - Philosophy in Review 1:10.
    Difference and Repetition: Deleuze’s magnum opus, “Difference and Repetition” (1968), explores the interplay between difference and repetition. He argues that difference is fundamental to reality, and repetition is not mere duplication but a creative force. Deleuze challenges conventional notions of identity and sameness, emphasizing the productive potential of difference. Gilles Deleuze’s “Difference and Repetition” is a seminal work that challenges traditional Western metaphysics and offers a fresh perspective on concepts like identity, repetition, and creativity. Let’s explore some key ideas from (...)
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  50. Definitions of Art, by Stephen Davies. [REVIEW]Peg Brand - 1994 - Philosophy and Phenomenological Research 54 (2):492-494.
    Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...)
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