The Philosophy of Art: An Introduction
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The Philosophy of Art is a highly accessible introduction to current key issues and debates in aesthetics and philosophy of art. Chapters on standard topics are balanced by topics of interest to today's students, including creativity, authenticity, cultural appropriation, and the distinction between popular and fine art. Other topics include emotive expression, pictorial representation, definitional strategies, and artistic value. Presupposing no prior knowledge of philosophy, Theodore Gracyk draws on three decades of teaching experience to provide a balanced and engaging overview, clear explanations, and many thought-provoking examples.
All chapters have a strong focus on current debates in the field, yet historical figures are not neglected. Major current theories are set beside key ideas from Plato, Aristotle, Kant, Marx, and Hegel. Chapters conclude with advice on further readings, and there are recommendations of films that will serve as a basis for further reflection and discussion. Key ideas are immediately accompanied by exercises that will test students' reactions and understanding. Many chapters call attention to ideology, prejudices, and common clichés that interfere with clear thinking.
Beautifully written and thoroughly comprehensive, The Philosophy of Art is the ideal resource for anyone who wants to explore recent developments in philosophical thinking about the arts. It is also provides the perfect starting point for anyone who wants to reflect on, and challenge, their own assumptions about the nature and value of art.
Western grouping is more rational than the grouping of ancient Greek mythology. And I’m not persuaded that “we” have any one definitive grouping, either. In some conversational contexts I find myself interested in the fine arts, in which case video games and garden gnomes are not art. In other contexts, I find that they count as art. These fluid boundaries of art do not derive from confusion about the concept, nor do they arise from the permissive attitudes that “anything goes” and “it’s all
University of Washington Press. ____(1988) What Is Art For? University of Washington Press. Dodd, J. (2007) Works of Music: An Essay in Ontology. Oxford University Press. Duchamp, M. (2003) “The Richard Mutt Case 1917,” in Harrison and Wood 2003: 252. Dutton, D. (1977) “Art, Behavior, and the Anthropologists,” Current Anthropology 18: 387–94. ____(ed.) (1983) The Forger’s Art: Forgery and the Philosophy of Art. University of California Press. ____(2006) “A Naturalist Definition of Art,” The
Ancient Quarrel between Literature and Music. Clarendon Press. Klamer, A. (ed.) (1996) The Value of Culture: On the Relationship between Economics and Arts. Amsterdam University Press. Korsgaard, C. (1983) “Two Distinctions in Goodness,” Philosophical Review 92: 169–95. Korsmeyer, C. (2004) Gender and Aesthetics: An Introduction. Routledge. Kracauer, S. (1997) Th eory of Film: The Redemption of Physical Reality. Princeton University Press. Krausz, M. (1993) Rightness and Reasons: Interpretation
make anyone conscious of their emotions. For example, the Oscar-winning comedy film Juno (2007) is about an unwed pregnant teenager. The plot is designed to make the audience feel good about the girl’s decision to offer the baby for adoption. Although it raises the issue briefly before getting it out of the way, the film is constructed so that the audience can avoid having to deal with feelings about the current epidemic of single mothers in poverty. Instead, it encourages us to repress our
2007: 167–75.) Exercise: Early jazz was the music of a geographically localized African-American subculture. The same was true of early hip-hop or rap. If the early stages of these two musical movements express values contrary to those of the dominant culture, do they count as authentic expressions of American life? Explain. Does the answer to that question have any relevance to their value as music? 5.6 Modernity and authenticity A number of philosophers, artists, critics, and other