Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy)
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Praised in its original edition for its up-to-date, rigorous presentation of current debates and for the clarity of its presentation, Robert Stecker's new edition of Aesthetics and the Philosophy of Art preserves the major themes and conclusions of the original, while expanding its content, providing new features, and enhancing accessibility. Stecker introduces students to the history and evolution of aesthetics, and also makes an important distinction between aesthetics and philosophy of art. While aesthetics is the study of value, philosophy of art deals with a much wider array of questions including issues in metaphysics, epistemology, the philosophy of mind, as well value theory. Described as a 'remarkably unified introduction to many contemporary debates in aesthetics and the philosophy of art,' Stecker specializes in sympathetically laying bear the play of argument that emerges as competing views on a topic engage each other. This book does not simply present a controversy in its current state of play, but instead demonstrates a philosophical mind at work helping to advance the issue toward a solution.
counterexamples increase and gain critical and popular acceptance as artworks. What has recently come to be the more common tack in replying to the objection is to claim that the apparent counterexamples do have aesthetic properties (Lind 1992). The ready-mades, for example, have such properties on more than one level. Simply regarded as objects, they have features that to a greater or lesser degree reward contemplation. As artworks, they powerfully express Duchamp’s ironic posture toward art.
illuminate artworks, not merely supplement our conceptions of artworks. Second, it is very obscure how we are to evaluate competing interpretations on the present view. We cannot turn to the prior objects since they are completely silent on interpretive matters. They simply lack the properties predicated to the subsequent objects. My initial conception of Macbeth’s speech is silent on whether it just reflects Macbeth’s state of mind or presents a vision of life endorsed by the play. To evaluate
to them. In fact, since the second version of this view give works a greater degree of autonomy than the first, even hypothetical intentionalists do not agree among themselves about what degree of autonomy is the right one. Whatever precisely has motivated its acceptance by some, and despite its superior elegance, hypothetical intentionalism faces some counterexamples that disqualify it from being a viable alternative to moderate actual intentionalism. I conclude by briefly setting these
fiction, while it is the recognitional response that helps me to keep track of the plot, the characters, and salient bits of narrative that lead on to critical reflections about themes and symbols that suggest the underlying import of the work. A stranger suddenly appearing in cream colors by the city dockside without (as we immediately learn) baggage or accoutrements is ripe for imagining. That he appears on April Fool’s Day and is compared to the mythical first emperor of the Incans tends to be
in my imagination I share a world with monsters, there are different cases to consider. If I imagine that I am being told a factual account where monsters threaten people and I am spatiotemporally distant from these events, it is plausible that I would not imagine being threatened by the monsters. They don’t threaten me even in my fictional game. However, I might imagine that the monsters might pose a more general threat to me. Since we share a world, I can imagine that where I am in that world,