By Eran Guter
Covers the most important options, arguments, difficulties and figures in aesthetics and the philosophy of art.
This advent to aesthetics offers a layered therapy of either the historic heritage and modern debates in aesthetics. broad cross-referencing exhibits how concerns in aesthetics intersect with different branches of philosophy and different fields that research the humanities. Aesthetics A-Z is a perfect consultant for beginners to the sector of aesthetics and an invaluable reference for extra complicated scholars of philosophy, paintings background, media stories and the acting arts.
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Extra resources for Aesthetics A-Z (Philosophy A-Z)
Meeting the second challenge is particularly relevant to the problem of the definition of art, for one might be theoretically tempted to define art in terms of an attitude appropriate to all art. Kant tried to meet both challenges by construing the aesthetic attitude in terms of disinterestedness. In one version or another, this idea remained hitherto the characterization of choice among proponents of aesthetic attitude. However, it has been argued, most notably by Dickie, that under the guise of disinterestedness the notion of aesthetic attitude fails to meet the two aforementioned challenges.
The leading figures in this group included art critics and theorists Clive Bell and Roger Fry, painters Vanessa Bell and Duncan Grant, novelists Virginia Woolf and E. M. Forster, economist John Maynard Keynes, and others. The group initially formed at Cambridge University, where most of its members studied, and shared great reverence toward Cambridge philosopher and teacher G. E. Moore. indd 35 27/09/2010 08:18 36 AESTHETICS A–Z Moore’s ideas on epistemology and on value theory shaped the main features of the Bloomsbury aesthetics.
See beauty; epistemology; ethics; metaphor; paradox of tragedy Further reading: Aristotle 1995 Arnheim, Rudolf (1904–2007): Contemporary American (German-born) psychologist of art, a proponent of Gestalt theory, and a notable philosopher of film. Most of Arnheim’s work focused on perception in its relation to visual art. He argued that perception and cognition are intimately connected, asserting that visual perception is visual thinking. The perception of shape consists in the application of ‘visual concepts’ – a key term in Arnheim’s theory – through which we conceive of an object as three-dimensional, as having a constant shape, and as independent of any particular projective aspect.
Aesthetics A-Z (Philosophy A-Z) by Eran Guter