In the romantic period, there emerged a lot of piano works with colorful creation methods, which brought people infinite enjoyment of beauty and triggered countless discussions. Starting from the Romantic period, this paper analyzes the aesthetic characteristics of piano art, discusses its aesthetic essence, and traces its development source, aiming to deepen the public's cognition of piano art, strengthen the importance of piano art, give play to the influence of art, let aesthetics penetrate into the public and enrich the emotional (...) experience of the public. Guided by the dialectical materialist philosophy of Hegel, who is the master of classical philosophy, this paper analyzes the philosophical basis of his theory of aesthetic study of piano art and its relationship with the musical language and musical works of romantic piano musicians in the 19th century, and draws a conclusion that the artistic aesthetics of romantic piano and the artistic core of classical philosophy are embodied. The piano works of Romanticism "go back to the inner world" are the double presentation of the music language based on emotion theory and the artistic core of classical philosophy. (shrink)

Time plays a major role in classical Daoist thought, explored through different lenses in this powerful volume that brings together both established and rising scholars in the field. It discusses cosmic, seasonal, human, and mystical dimensions of time, linking Daoists to ancient astrologers, exploring universal origins (based on excavated manuscripts), examining issues of permanence and transience, and questioning notions of self and personal identity in a temporal light. Beyond this, the book also looks at classical Daoist visions of (...) matching human activities to seasonal cycles, notions of timeliness in connection with ethical issues, ways of overcoming temporal limitations through self-cultivation, and concepts of vital energy as expressed in art and music. The book is full of fascinating and stimulating contributions, opening new horizons in our understanding both of classical Chinese thought and dimensions of time. (shrink)

Some think of art as opposed to philosophy and science, and indeed sometimes opposed to morality. Here, Wall explores the fundamental ways of pursuing aesthetics, speculation, science, mathematics, and morality. Conceptually these are not opposed. He illustrates the ideas with reference to an array of ancient and modern thinkers.

Many of us will remember when, as students, we were attending an introductory course on aesthetics or the philosophy of art. We may have wished for a textbook t.

Goldin thus begins the book by asking the basic question "What are we reading?" while also considering why it has been so rarely asked. Yet far from denigrating Chinese philosophy, he argues that liberating these texts from the mythic idea that they are the product of a single great mind only improves our understanding and appreciation. By no means does a text require single and undisputed authorship to be meaningful; nor is historicism the only legitimate interpretive stance. The first chapter (...) takes up a hallmark of Chinese philosophy that demands a Western reader's cognizance: its preference for non-deductive argumentation. Chinese philosophy is an art he demonstrates, more than it is a rigorous logical method. Then comes the core of the book, eight chapters devoted to the eight philosophical texts divided into three parts: Philosophy of Heaven, Philosophy of the Way, and Two Titans at the End of an Age.. (shrink)

In this synthetic introduction to the history of the philosophy of art, Noël Carroll elucidates and analyzes selected writings on art by Plato, Aristotle, Hutcheson, Hume, Kant, Hegel, Schopenhauer, Tolstoy, and Bell. Carroll’s narrative tracks developments between major positions in philosophy of art, ranging from the idea that art is unavoidably embedded in society to the evolution of the notion that art is autonomous ("art for art’s sake"), thereby setting the stage for continuing debates in the philosophy of art. Presupposing (...) no prior background, and useful on its own or accompanying the reading of primary works, _Classics in Western Philosophy of Art_ is ideal as a text for introductory undergraduate and graduate courses in philosophy of art and aesthetics, or for anyone interested in learning about the origin of some of our most fundamental conceptions of art in the Western tradition. (shrink)

German philosopher G. W. F. Hegel problematized the term “aesthetics” in his writings on art. This article attempts to capture the tension between Hegel's theory of art and philosophy of art and its impact on the subsequent theorization of art in the twentieth century as consumer or emancipatory. Music, poetry and plastic arts seem to resonate differently with philosophers such as Plato, Aristotle, Kant, Hegel and Adorno. Plato considered music soothing to the soul. In Aristotle, one could trace the oblique (...) beginnings of the tension between a theory of art and a philosophy of art as he questioned the role of art in philosophy. While Kant's approach is more formal and deals with concepts such as beauty, sublime, genius, and the status of aesthetic objects, Hegel grapples with the rational and emotional aspects of works of art which determine whether art is free or under the thralldom of nature. Both Kant and Hegel distinguished artistic from natural beauty. Critical theorists such as Adorno were also influenced by Hegel. Adorno's analysis of concepts such as mimesis forms an important part of his critique of culture industry. Adorno was also emphatic that classical art could only exist as a product of an epoch. Yet in its dialectical form, art serves as a critique of ideology. Progressively, from the nineteenth to the twentieth century, what began as a crevice between a philosophy of art and a theory of art became a chasm. Thus, begins a contentious relationship between art as a pursuit in itself and art for consumption, that is, art as an integral aspect of consumer culture. The new phenomenon of AI art also poses interesting questions about the paradigmatic shift in dynamics between human element and technology. This article would also attempt to trace how art continues to defy reification, while in the process being consumed constantly, recreating and reinventing itself. (shrink)

Wang Guangyi, one of the stars of the new wave of Chinese art, has artistically addressed major philosophical trends in Western philosophy while drawing on Taoism, Marxism and Maoism. By bringing together a team of experts in the philosophy of art to discuss his work, The Philosophy and Art of Wang Guangyi presents the first philosophical exploration of Wang's art, his thought and his analysis of Chinese society. -/- From his use of words in images to his reference to the (...) classics of Western painting, contributors set Wang's work against key questions in contemporary art. As well as answering what makes the language of pop art successful, they examine whether art and its history have come to an end, as Hegel posited, and if it is possible or even necessary to rework a new narrative for the history of contemporary art. The Philosophy and Art of Wang Guangyi marks an important contribution to understanding the background, work and ideas of a 21st-century political artist outside the West. (shrink)

Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the (...) borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts. (shrink)

This book is an engagement between a great modern philosopher defending classical philosophy against an army of challengers to the very notion of philosophy as classically conceived. It is written very much in the spirit of the "scholastic disputations" in the medieval universities, which produced the great Summas: a mutual search for truth, a philosophical laboratory, a careful winnowing of each objection. Such objectivity is lamentably rare in contemporary philosophy. In order to combat modern misunderstandings of challenges to the (...) classical concept of philosophy, Pieper shows us the unique and uniquely valuable thing philosophy is as conceived by his masters: Socrates, Plato, Aristotle, Augustine, and above all, Aquinas. Along this path he scatters gems of insight, such as: art and religion as Philosophy's defenders; the relationship between philosophy and science; philosophy as "seeing and saying"; and philosophy as rooted in meditation and loving contemplation. Pieper emphasizes that philosophy is something all human beings do, and should be the better for doing. (shrink)

Cottingham : Western philosophy : an anthology (second edition) -- Cahoone : from modernism to postmodernism : an anthology (expanded -- Second edition) -- Lafollette : ethics in practice : an anthology (third edition) -- Goodin and Pettit: contemporary political philosophy: an anthology (second -- Edition) -- Eze: african philosophy : an anthology -- McNeill and Feldman : continental philosophy : an anthology -- Kim and Sosa : metaphysics : an anthology -- Lycan and Prinz : mind and cognition : (...) an anthology (third edition) -- Kuhse and Singer : bioethics : an anthology (second edition) -- Cummins and Cummins : minds, brains, and computers : the foundations of -- Cognitive science : an anthology -- Sosa, Kim, Fantl, and McGrath epistemology : an anthology (second edition) -- Kearney and Rasmussen : continental aesthetics, romanticism to -- Postmodernism : an anthology -- Martinich and Sosa : analytic philosophy : an anthology -- Jacquette : philosophy of logic : an anthology -- Jacquette : philosophy of mathematics : an anthology -- Harris, Pratt, and Waters : American philosophies : an anthology -- Emmanuel and Goold: modern philosophy from Descartes to Nietzsche : an anthology -- Scharff and Dusek : philosophy of technology ; the technological condition : an anthology -- Light and Rolston : environmental ethics : an anthology -- Taliaferro and Griffiths : philosophy of religion : an anthology -- Lamarque and Olsen : aesthetics and the philosophy of art; the analytic -- Tradition : an anthology -- John and Lopes : philosophy of literature ; contemporary and classic -- Readings : an anthology -- Cudd and Andreasen : feminist theory : a philosophical anthology -- Carroll and Choi : philosophy of film and motion pictures : an anthology -- Lange : philosophy of science : an anthology -- Shafer-Landau and Cuneo : foundations of ethics : an anthology -- Curren : philosophy of education : an anthology -- Shafer-Landau : ethical theory : an anthology -- Cahn and Meskin : aesthetics : a comprehensive anthology -- McGrew, Alspector-Kelly and Allhoff : the philosophy of science : an historical -- Anthology -- May and Brown : the philosophy of law : classic and contemporary readings -- Forthcoming -- Rosenberg and ARP : philosophy of biology : an anthology. (shrink)

The Art Experience: An Introduction to Philosophy and the Arts takes readers on an engaging and accessible journey that explores a series of fundamental questions about the nature of art and aesthetic value. Three of these questions serve as the major sections for the book's 12 chapters: What makes something a work of art? How should we experience art in order to get the most out of it? And once we understand art, how should we evaluate whether it is good (...) or bad? Philosophical theory is illustrated with concrete examples: the paintings of Frida Kahlo, the music of Johann Sebastian Bach, the masks of the Nso people, and many others. Classic questions are balanced with cutting-edge challenges, such as Linda Nochlin's work on the exclusion of women from the artistic canon. The Art Experience presupposes no prior knowledge of philosophy or art, and it will be of interest to any reader seeking an accessible and engaging introduction to this field. Along the way, readers learn how philosophical theories can affect our real-world experiences with painting, music, theater, and many more art forms. Key Features Accessible for any college student and assumes no knowledge of philosophy, art theory, or any artistic medium Organizes topics conceptually, rather than historically, allowing students to more easily grasp the core issues themselves rather than tracing their historical evolution Offers readers a large number of contemporary examples and a consistent focus on the way theory can affect people's real-world experiences with art Explores questions about bias - for example, whether the artistic canon has excluded some groups unfairly and whether definitions of art are Western-biased. (shrink)

Classic rock of the 1960s and early 1970s broke away from the harmless bubblegum and surfing music of the 1950s to become a vehicle for profound commentary upon the human condition. Theories and motifs from major figures in the history of philosophy, theology and literature were refracted and transfigured in this intelligent new popular art form.

This article provides the original perspective on esotericism. Two author distinguishes between the two polar directions of esotericism – "transcendental" and "latent" ; as well as introduces the two postulates characteristic to the first direction that in previous research received the name of "classical". The article discusses what binds esotericism and philosophy, religion, and art; outlines the common aspects of these fields of knowledge and life activity are indicated ; examines the cases of interaction, and what caused the decline (...) of interest in esoteric teachings. The research consists of two parts. The first part explores the three cases that reveal a close link between esoteric, philosophical, scientific and literary thought, as well as the fact that esoteric ideas and concepts often enrich philosophy, science and art. The second part discusses the key reasons for the slump in esotericism: new cultural challenges that to which there is yet no esoteric answer, interception of esoteric discourse in a number of directions of contemporary art and philosophy. However, this pause is temporary, since esoteric path is one of the ways to prevail in personality culture; it can be assumed that esotericists will soon eliminate the existing gap. On the example of current interest in vampires, the author discusses certain peculiarities of the phenomenon of mysticism, which indicate that the phenomenon of vampirism is real, perhaps related to the forms of communication widely used in modern life. (shrink)

Excerpt from Zur Philosophie der Kunst: Philosophische und Kunstphilosophische Aufsätze Wenn 'es dennoch irgend eine zeitartige Bestimmung fiir ihn gehen soll, so ist es: Jugend. Denn unter allen Ld>ensaltern nähert sich die jugend in ihrem Empfinden am meisten der Zeitlosigkeit weil sie die Bedeutung der Zeit noch nicht kennt, weil sie mit dieser als mit einer Macht und einer Grenze noeh nicht rechnet. Da rum ist die jugend so eminent unhistorisch, sie mißt die Dinge am Unendliehen, gelöst von den einsehrinkenden (...) Bedingungen zeitlicher Wirklichkeit; sie allein kennt jene schwellenden übergreifenden Tage, in denen man alle Vergangenheit noch zu erhoffen, alles Zukunftsglüekm sich schon zu erinnern glaubt: Das ist die Stimmung Böcklinischer Landschaft. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Excerpt from Die Philosophie der Gegenwart in Deutschland: Eine Characteristik Ihrer Hauptrichtungen Sn her 5tneiten. Sgiilfte he? 19.3ahrhunhertä mar harin eine nöle lige %anhlung eingetreten. Qbenn man auch nicht allgemein fo loeil ging, fie bloß al5 ein (erbftücl vergangener 8eiten an hulben, fo hatte fie hoch ihre %iihrerftellung im geiftigen geben an anhere sjiächte aba treten miiffen. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of (...) an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This review examines Paul Goldin’s book The Art of Chinese Philosophy: Eight Classical Texts and How to Read Them. The book gives interpretations of eight texts from the classical period that respond to the same set of central questions and each other’s arguments. In addition, the book presents historical background and describes the complexity of authorship of these texts.

Art and Interpretation is a comprehensive anthology of readings on aesthetics. Its aim is to present fundamental philosophical issues in such a way as to create a common vocabulary for those from diverse backgrounds to communicate meaningfully about aesthetic issues. To that end, the editor has provided selections from a wide variety of challenging works in aesthetic theory, both classical and modern. The approach is often cross-disciplinary. Within the discipline of philosophy it seeks to balance readings from the analytic (...) tradition with continental European, hermeneutical postmodern (including deconstructionist), and feminist readings. The anthology is thus broadly conceived, but by grouping the readings into sections such as ‘Expression and Aesthetic object,’ ‘Psychology and Interpretation,’ ‘Marxist Theory,’ and ‘Culture, Gender, and Difference,’ it aims as well to provide depth of coverage for each topic or issue. The book opens with a historical section containing substantial selections from Plato, Aristotle, Hume, Kant, Shelley and Nietzsche; these readings introduce themes that recur and are developed in the remainder of the anthology. (shrink)

William Bartram would accompany his botanizing father, John, into the wilderness and he would famously memorialize his own explorations with an account that mixed romantic conventions with natural history and Quaker theology. William’s interior life corresponds to the spirit of Virgil’s Eclogues with its promise of the resto­ration of a Golden Age, replete with bucolic scenes of shepherds tending their flocks and singing nature’s praises. This paper addresses some of the political interpretations that Bartram’s work has received and argues that (...) William was focused on a distant past which he was introduced to through the classical curriculum at the newly founded Academy of Philadelphia. William’s curriculum guaranteed an introduction to the conventions of the sublime and the picturesque, since Addison’s Spectator was also required reading and he was well-versed in Linnaean nomenclature, but wherever William botanized his observations of the natural world were framed by classical literature. His tour of ancient Indian ruins where he imagined an Areopagus and a space free of strife and bloodshed is a dramatic example of William’s habit of importing a place defined by classical literature into his natural history. (shrink)

In lieu of an abstract, see the following excerpt: -/- Though his work has until now gone untranslated and been largely ignored in English scholarship, the historian of philosophy François Châtelet played a major role in the development of French thought that is on par with that of his more well-known contemporaries. Born in 1925, Châtelet was founding member of the University of Vincennes, Paris VIII’s experimental department of philosophy alongside Michel Foucault in the aftermath of the 1968 student protests. (...) In 1983, he would establish the Collège Internationale de Philosophie in Paris along with other prominent philosophers, an institution that in Alessandra Campana’s words, is at “the forefront of militant and engaged critical thinking,” in which it has sought to “relocate philosophy at the intersection of science, politics, psychoanalysis, art and literature, jurisprudence, and economy.” Châtelet’s association with radical educational institutions and the interdisciplinarity of research undertaken at the latter both point to what can be understood to be the essence of his philosophical project: that the history of philosophy is also a politics of philosophy. La Grèce Classique, La Raison, L’État, which was first published in 1978 and appears here in translation for the first time under the title Classical Greece, Reason, and the State, is exemplary in this regard, providing a powerful critique of the history of philosophy and its purported Greek origins. As Deleuze argues, Châtelet reveals that “Athens was not the advent of an eternal reason, but the singular event of a provisional rationalisation. In this view, the essence of classical philosophy cannot be extended to the contemporary era—neither in its original form, or in a revised form that has been modified and updated across the passage of time. Therefore, by politicising philosophy and its history, Châtelet’s work also shows philosophy to be indicative of a particular cultural moment, rather than as an the state, philosophy, and the tyranny of the logos · isolated discipline cut off from the influences of material life. He establishes a form of ‘rational empiricism’ for conducting a history of political philosophy that rejects universality for potentiality. Said otherwise, his work is indicative of what might be called the poststructuralist critique of historical narrative surrounding the canon of western thought, a critique that Michael Hardt rightfully argues “has problematised the foundations of philosophical and political thought.” However, Châtelet has made important contributions to the poststructuralist approach to theorising the western tradition that remain novel and insightful to a contemporary audience, rather than simply being one of many to problematise philosophy’s purported foundations. (shrink)

Excerpt from Philosophie de la Pratique: Économie Et Éthique En décrivant cette façon de procéder de la réflexion ordi naire en présence de la réalité, et en en montrant l'impuis sance philosophique, nous avons, en mémé temps, 'montré déjà le caractère et l'impuissance de la méthode psychologique, appliquée aux problèmes philosophiques. En effet, la philo sophie psychologique, bien qu'elle ait été exposée en 'de pesants traités et en de solennelles conférences académiques, ne fait ni plus ni moins que ce que (...) fait cette réflexion ordi naire, ou plutôt elle n'est précisément que cette réflexion ordi naire. Après avoir ramené ades classes les images des infinies manifestations de l'activité humaine, en mettant par exemple, dans ces classes, à côté de la pensée et de l'imagination la volonté et l'action, elle considère ces classes comme des rén lités. Mais les classes sont des classes et non des distinctions philosophiques celui qui, les prenant trop au sérieux, les entend de cette seconde manière se trouve ensuite, sans s'y attendre, forcé de s'apercevoir un beau jour qu'elles n'ont rien de réel. Et alors il s'exclame, crie et proclame l'inexistence des facultés de l'âme, ou déclare qu'elles ne sont qu'un artie fice mental auquel rien ne correspond dans la réalité; ou mème il va plus loin et, en mème temps que ces fausses distinctions, iljette à I'cenle critérium lui - mème ou la dis tinction, et il affirme que toutesles manifestations spirituelles se réduisent à un élément unique. Puis, cet élément finit par ètre précisément une de ces classes auparavant rejetées: de là, la tentation de montrer les faits volitifs comme n'étant rien d'autre que des faits de représentation, ou ceux de représen tation comme n'étant rien d'autre que des faits de volition, ou les uns et les autres comme n'étant que des faits de senti ment, et ainsi de suite. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts " and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on (...) the borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts. (shrink)

Excerpt from Allgemeine Geschichte der Philosophie: Mit Besonderer Berucksichtigung der Religionen Dei als Icritjlcer ausgezeichnete, aber philosophisch weniger gut beratene Verfasser des beruhmten Lebens -lesu, David Friedrich Straufs, wirft in der Schrift seines Alters, Der alte und der neue Glaube die Frage auf:, Sind wir noch Christen? und beantwortet sie Init einem klaren und entschiedenen Nein. XVer aber imstande ist, den philosophischen Kern aus der historischen und daher zufalligen Schale zu losen, wer nicht bei den blossen XVorten stel1e 11 bleibt (...) und eine Sache auch da wiederzuerkeiinen vermag, wo sie unter anderm Namen und in neuer Einkleidung auftritt, der wird auch nach allen Errungenschaften der Geschichtsforschung, Naturwissenschaft und Philosophie die von Straufs aufgeworfene und verneinte Frage: Sind wir noch Christen? mit einem ebenso klaren und entschiedenen Ja beantworten. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

This anthology is intended as a core text for courses in aesthetics or philosophy of art. It contains a wealth of readings from both classic and contemporary sources, and aims to present substantial selections from those texts rather than mere "snippets." Readings are organized historically within four broad themes so that students can see how concepts of art have evolved and been debated. Each reading is introduced by the authors, who suggest connections between the reading and others in the anthology. (...) Unlike other anthologies on the market, The Philosophy of Art is both comprehensive and affordable, making it the ideal book for course use. (shrink)

An Introduction to the Philosophy of Art is a clear and compact survey of philosophical theories of the nature and value of art, including in its scope literature, painting, sculpture, music, dance, architecture, movies, conceptual art and performance art. This second edition incorporates significant new research on topics including pictorial depiction, musical expression, conceptual art, Hegel, and art and society. Drawing on classical and contemporary philosophy, literary theory and art criticism, Richard Eldridge explores the representational, formal and expressive dimensions (...) of art. He argues that the aesthetic and semantic density of the work, in inviting imaginative exploration, makes works of art cognitively, morally and socially important. This importance is further elaborated in discussions of artistic beauty, originality, imagination and criticism. His accessible study will be invaluable to students of philosophy of art and aesthetics. (shrink)

A satisfactory accounting of the current state of classical studies, at least in an American setting, requires consideration of the vitality of the connections between classics—understood as the study of the ancient civilizations of Greece and Rome as revealed in their languages, literature, art, architecture, and political institutions— and the disciplines of history, philosophy, literary criticism, political science, religious studies, archaeology, and art history. I argue that the relationship between classics and philosophy, at least in the context of American (...) higher education, is marred by a significant degree of parochialism—as classicists deprecate the value of philosophical analysis, and as philosophers fail to avail themselves of the linguistic and literary expertise typically possessed by the professional classicist. To address these problems, I propose instituting approaches to research and teaching that foster an appreciation of expertise across disciplinary boundaries—team-taught or interdisciplinary courses and multi-disciplinary graduate seminars, conferences, and workshops. (shrink)

It is the aim of this work to examine the pivotal role of Johann Joachim Winckelmann (1717-1768) as a judge of classical sculpture and as a major contributor to German art criticism. John Harry North seeks to identify the key features of his treatment of classical beauty, particularly in his famous descriptions of large-scale classical sculpture. Five case studies are offered to demonstrate the academic classicism that formed the core of his philosophy of art. North aims to (...) establish Winckelmann's place in the development of the German language. His prose contributed to a literary style that was suitable for the expression of an emotional response to visual experiences. His use of rhetoric in the assessment of classical art, however, make his judgements propagandist rather than analytical. The published works of Winckelmann, his draft essays and his collected private correspondence are advanced as criteria in the evaluation of his impact on the development of German classicism that culminated in the Weimar group of poets and writers. His Grecophile enthusiasm, however, led him to introduce stylistic categories in the development of classical marble sculpture that are no longer regarded as truly reflecting the evolution of Greco-Roman art. Thus his historicity and his classification of styles remain in doubt. Winckelmann proposed that the training of modern artists should concentrate on the observation and imitation of classical models instead of looking to nature as the source of inspiration. This plan succeeded to some extent in the generation that followed his untimely death. Throughout the succeeding century, artists and their sponsors did favour classical models and developed stylistic classicism in European freestanding sculpture, in painting and in architecture. (shrink)

Excerpt from History of Philosophy and Philosophical Education: Under the Auspices of the Aristotelian Society of Marquette University God and Philosophy (the Powell lec tures of 1940) New Haven, Yale University Press, and Oxford, Oxford University Press, 1941, 144 pages. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original (...) format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In 1964, when Danto first encountered Warhol's Brillo Box, Jasper Johns made a painting titled According to What. Danto's new book After the End of Art also provokes this question because in his restatement of Hegel's verdict on art's historical role he drops an essential part of the implied definition of art: the issue of adequacy between content and presentation. Why dispense with this crucial point of quality judgment? My critique falls into three parts. The first part shows how the (...) whole historical argument rests upon a shift of criteria. According to Hegel art reached its highest point of achievement in classical antiquity when adequate embodiment seemed indispensable to the presence of the spirit. It subsequently lost this exclusive rank-first through Christianity, then through modern philosophy-when a new spiritual self-awareness emerged which no longer seemed to need external manifestation. Although Danto disputes the concept of absolute self-possession as the metaphysical vanishing point of Hegel's construction, he nevertheless subscribes to its apparent evidence in late twentieth-century art and culture. In the second part I discuss the characteristic distortions of Hegelian-type historicism and confront them with both the obvious misrepresentation of the works of art themselves and the different code of conduct in practical art history. This leads to a rather disenchanting conclusion: according to an old, deeply ingrained philosophical prejudice there is no problem about quality in art, because the true yardstick and fulfillment of art is philosophy itself. The final part tries to unpick this tangle by showing that there was in fact, contemporaneous with Hegel, a remarkably different interpretation of the self-same auspices of modern art which comes much closer to its actual achievements, and this without denying the basic philosophical predicament of which Danto has reminded us. (shrink)

Painting -- Photography and film -- Architecture and the third dimension -- Music -- Literature -- Performance -- Popular art and everyday aesthetics -- Classic sources -- Contemporary sources.

"[A] positive contribution to the discourse on aesthetics from a cross-cultural perspective. It should be required reading for any academic who teaches and writes on aesthetics and the philosophy of art... There is much to be inspired by, and to learn from."- The Journal of Aesthetics and Art Criticism The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art provides an extensive research resource to the burgeoning field of Asian aesthetics. Featuring leading international scholars and teachers whose work (...) defines the field, this unique volume reflects the very best scholarship in creative, analytic, and comparative philosophy. Beginning with a philosophical reconstruction of the classical rasa aesthetics, chapters range from the nature of art-emotions, tones of thinking, and aesthetic education to issues in film-theory and problems of the past versus present. As well as discussing indigenous versus foreign in aesthetic practices, this volume covers North and South Indian performance practices and theories, alongside recent and new themes including the Gandhian aesthetics of surrender and self-control and the aesthetics of touch in the light of the politics of untouchability. With such unparalleled and authoritative coverage, The Bloomsbury Research Handbook of Indian Aesthetics and the Philosophy of Art represents a dynamic map of comparative cross-cultural aesthetics. Bringing together original philosophical research from renowned thinkers, it makes a major contribution to both Eastern and Western contemporary aesthetics. (shrink)

The late Ananda K. Coomaraswamy, curator of Indian art at the Boston Museum of Fine Arts, uniquely combined art historian, philosopher, orientalist, linguist, and expositor in his person. His knowledge of the arts and handcrafts of the Orient was unexcelled and his numerous monographs on Oriental art either established or revolutionized entire fields. He was also a great Orientalist, with an almost unmatched understanding of traditional culture. He covered the philosophic and religious experience of the entire premodern world, east and (...) west, and for him primitive, medieval European, and classical Indian experiences of truth and art were only different dialects in a common language. Finally, Coomaraswamy was a provocative writer, whose erudition was expressed in a delightful, aphoristic style. The nine essays in this book are among his most stimulating. They discuss such matters as the true function of aesthetics in art, the importance of symbolism, and the importance of intellectual and philosophical background to the artists; they demonstrate that abstract art and primitive art, despite superficial resemblances, are completely divergent; and they deal with the common philosophy which pervades all great art, the nature of medieval art, folklore, and modern art, the beauty inherent in mathematics, and the union of traditional symbolism and individual portraiture in premodern cultures. (shrink)

In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are premised (...) is specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars. (shrink)

Excerpt from La Philosophie Contemporaine en France: Essai de Classification des Doctrines L' origine de cet essai fut un coms professe en 1908 a l'universite nouvelle de Bruxelles sur Les g: andee tendances de la philosqnhz'e francaise contemporaine. Il nous plait de nous rappeler que la premiere esquisse de ce livre consacre a la pensee francaise fut tracee a la demande d'amis belges et pour un public belge. Plus tard, nous avons renouvele l'entreprise, avec plus d'am pleur, a l'ecole des (...) Hautes Etudes Sociales, dans un cours professe en 1909-1910. Nous n'aurions jamais songe a reprendre et a developper ces lecons, si la guerre ne nous avait paru leur donner une opportunite et comme une portee nouvelles. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Scruton is a self-confessed elitist for whom culture is ‘the creation and creator of elites’, though its meaning ‘lies in emotions and aspirations that are common to all’. This article argues that one can uphold his humane conception of the value of high culture without endorsing elitism. It develops a surprisingly unelitist strand in Scruton's thinking into a meritocratic middle way between elitism and populism, in order to explain why art is in some sense an elite product, but with communal (...) resonance. This aim is furthered by interpreting high culture in terms of the less elitist concept of the classic. (shrink)

This introductory piece provides context for this symposium on Richard Shusterman's new book, Philosophy and the Art of Writing. The piece reflects on the symposium genre from Plato's classic dialogue to its form today. It claims that Shusterman's work asks us to take this kind of philosophical writing more seriously, and for that reason the symposium itself has taken on a different structure. The piece discusses how each of the contributors responding to the book (with Shusterman leading the way), Eli (...) Kramer, Randall Auxier, and Charles Johnson, have engaged in practicing, nurturing, and supporting broad modes of philosophical writing, and in turn why they have chosen to do so in this context. (shrink)

The Art of Being: Poetics of the Novel and Existential Philosophy offers an account of the poetics of the realist novel, based on how the novel reorients philosophy in the nineteenth and twentieth century. Philosophers such as Kierkegaard, Sartre, and Beauvoir not only read novels and use novelistic techniques of representation in their work, but also discover a radically new way of thinking about the relation between the form of the novel and the nature of self-knowledge, freedom, and world. Drawing (...) upon a rich archive of existentialists writing on the novel, Ong argues that for these thinkers the poetics of the novel in its classic phase - the nineteenth- and twentieth-century realist novel - discloses the conditions for thinking about the meaning of existence. Bringing together philosophy, novel theory, and intellectual history with groundbreaking readings of the novels of Tolstoy, Eliot, Austen, James, Flaubert, and Zola, this study reveals how the novel engages with philosophically rich notions of freedom, world, and the unfinished character of human life in its very form. (shrink)

Classical mechanics and quantum mechanics are two of the most successful scientific theories ever discovered, and yet how they can describe the same world is far from clear: one theory is deterministic, the other indeterministic; one theory describes a world in which chaos is pervasive, the other a world in which chaos is absent. Focusing on the exciting field of 'quantum chaos', this book reveals that there is a subtle and complex relation between classical and quantum mechanics. It (...) challenges the received view that classical and quantum mechanics are incommensurable, and revives another, largely forgotten tradition due to Niels Bohr and Paul Dirac. By artfully weaving together considerations from the history of science, philosophy of science, and contemporary physics, this book offers a new way of thinking about intertheory relations and scientific explanation. It will be of particular interest to historians and philosophers of science, philosophically-inclined physicists, and interested non-specialists. (shrink)

“Any writer worth his salt knows that what cannot be spoken is ultimately the thing worth speaking about; yet most often this humbling awareness is unsaid or covered up. There are some who have made it their business, however, to court failure and acknowledge defeat, to explore the impasse of words before silence. William Franke has created an anthology of such explorations, undertaken in poetry and prose, that stretches from Plato to the present. Whether the subject of discourse is All (...) or Nothing does not matter: the struggle of speech to name the unnameable is the same. This ambitious two-volume undertaking demonstrates a preoccupation as old as Western civilization itself: the limits of language and the virtue of being at a loss for words. How long we have been raiding the Inarticulate!” —Peter S. Hawkins, Boston University “Developments in critical theory during the past two decades have led to renewed interest in negative theology. Books like _Languages of the Unsayable_, _Negation and Theology_, _Derrida and Negative Theology _, and _The Otherness of God _ have signaled the resurgence of this ancient tradition. William Franke’s distinctive contribution is to provide the background and texts from which these recent developments have emerged.” —Mark Taylor, Williams College Apophasis has become a major topic in the humanities, particularly in philosophy, religion, and literature. This monumental two-volume anthology gathers together most of the important historical works on apophaticism and illustrates the diverse trajectories of apophatic discourse in ancient, modern, and postmodern times. William Franke provides a major introductory essay on apophaticism at the beginning of each volume, and shorter introductions to each anthology selection. The first volume, _Classic Formulations_, offers excerpts from Plato, Plotinus, Damascius, the Bible, Gregory of Nyssa, Augustine, Pseudo-Dionysius, Maimonides, Rumi, Thomas Aquinas, Marguerite Porete, Dante, Teresa of Ávila, John of the Cross, and more. (shrink)

Rebecca Farinas takes seven major figures from the American philosophical canon and examines their relationship with an artistic or scientific interlocutor. In so doing, she provides a unique insight into the origins of American philosophy and, through case studies such as the friendship between Alain Locke and the biologist E.E. Just and the collaboration between Jane Addams and George Herbert Mead, sheds new light on these thinkers' ideas.

Excerpt from Genetic Philosophy of Education: An Epitome of the Published Educational Writings, of President G Stanley Hall, of Clark University All must admit that there is a lack at the present time, at least among the rank and file of teachers, and in the public mind generally, of any adequate philoso phy of education, or even Of a point of view from which the themes of school and home can be dis cussed broadly and intelligently. The older philoso phies (...) of F roebel, Hegel, and Herbart are certainly in sufficient to meet present needs, and especially in the training of teachers is this painfully felt. They are not only obscure, and little inspiring, either Of breadth of thought or intelligent practice but they fail en tirely to connect with the teacher 3 daily life, unless they be taught in a very shallow and formal way. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

George Dickie has been one of the most innovative, influential, and controversial philosophers of art working in the analytical tradition in the past twenty-five years. Dickie's arguments against the various theories of aesthetic attitude, aesthetic perception, and aesthetic experience virtually brought classical theories of the aesthetic to a halt. His institutional theory of art was perhaps the most discussed proposal in aesthetics during the 1970s and 1980s, inspiring both supporters who produced variations on the theory as well as passionate (...) detractors who thought the theory thoroughly wrongheaded. Dickie has also written widely on the history of aesthetics, and his work ranks among the best examples of analytic aesthetics. The philosophy of George Dickie continues to provoke reaction and reflection. The essays in this collection pay homage not only to Dickie's ideas but also to his influence. A brief biography of George Dickie and a bibliography of his works complete the volume. (shrink)

Excerpt from The Problem of Philosophy at the Present Time: An Introductory Address Delivered to the Philosophical Society of the University of Edinburgh All, and to ask you to adopt, for the time, a point of view which may not be your own. Afterwards you can avenge yourselves for this temporary submission by subjecting my words to what criticism you think fit. A philosophic temper is shown, above all things, in the power of entering into the views of another, and (...) taking them for the moment almost as if they were your own, without prejudice to the subsequent critical reaction, which will be effective just in proportion to the degree of your previous sympathetic appreciation of the ideas criticised. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)