This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon the nature of (...) ethical criticism, I argue, offers new reasons to prefer moderate actual intentionalism to hypothetical intentionalism. I conclude by arguing for the necessity of broadening our conception of ethical criticism. (shrink)

Summation. A specifically modern approach to the interpretation of art is distinguished, rooted in the insight that cognitivity in interpretation must be oriented by sensitivity to the subject-object paradigm. It is shown that specific modern theory of interpretation has become established in twentieth-century theory and practice. That theory is demonstrated to be a set of interpretative rules. The hidden dependence of those rules on specific conceptions of the nature of a work of art is revealed. Three such (...) conceptions of the work of art that are basic to modern art history are articulated and critically examined by careful attention to actual works. Interpretation is shown to exceed the strictures of each model, with the specific consequence that the meaning of the work of art in modern times is systematically narrowed. Motives for that narrowing are discussed. (shrink)

Among the French philosophers who discuss the literature of writer Marquis de Sade, Maurice Blanchot presents a unique interpretation. For Blanchot, literature is the theme par excellence on which his entire oeuvre has been built. It is not, however, the case that Blanchot reads several literary forms and invents new concepts to map out a certain form of literature. His thinking about literature is indeed accompanied by an ideal and his interest goes out to a particular kind of writer, (...) namely the writer who feels closely related to revolution. This implies that Blanchot is interested in Sade because his literature is both an illustration of a certain ideal, and is stuck in the revolutionary moment of radical negation. (shrink)

A searching examination of marx's writings reveals that he has no single, Consistent theory of the economic basis of art. The more extreme marxist position, With its metaphor of economic base and cultural superstructure, Is misleading and belies marx's own deeper insight. His doctrine of creativity, And of alienation and its overcoming, Is aesthetic in tinge, And points to a less reductionist theory than that of orthodox marxism.

This article refers to the issues associated with the crucial significance of the interpretation of tax law provisions made by administrative courts in the course of the judicial inspection of tax decisions, within the context of protecting the subjective rights of taxpayers. The analysis in that regard has been prepared based on the provisions of art. 153 of the Act of 25 July 2002 on Proceedings before Administrative Courts, which expresses the important rule of binding the court and the (...) administrative authority, whose act was the subject of an appeal, with a legal assessment and instructions regarding the further proceedings described in the decision of the administrative court. As a result of this rule, a decision of an administrative court exerts the results exceeding the scope of judicial administrative proceedings, while its effect also covers the future tax proceedings. If the legal assessment made by the court refers to the regulations that affect the subjective rights of a taxpayer, it means that the administrative court imposes the effects of “its” interpretation of those provisions on a tax authority. In turn, the tax authority is obliged to respect those rights in accordance with the opinions of the court, which usually affects the final resolution of a tax case. It should be borne in mind that a taxpayer, by submitting an appeal against a tax decision to an administrative court, demands not only an inspection of the acts of tax administration, but also - which should be emphasized - demands the execution of its rights, including its subjective rights. Therefore, we should not forget the crucial role of the administrative courts in the protection of the substantive rights of taxpayers. The instrument that allows the administrative courts to guard the subjective rights of taxpayers, consists in the procedural regulations included in the provisions on proceedings before administrative courts, and in particular art. 153 of the Act on Proceedings before Administrative Courts in Poland. (shrink)

The article deals with the determining role of the primary literary source on the Ukrainian theme in the creation of ballets. This made it possible to assert that at the junction of various arts, choreography and its special plastic form contribute to the creation of new avant-garde forms of art, thereby realizing the richest artistic potential of the direction. Based on this, it becomes clear that the relationship between literary and choreographic arts is close, because it affects the enrichment of (...) the ballet repertoire. Creating a choreographic work based on a literary background is one of the most important achievements of choreography.The artistic integrity of choreographic works forms the basis of the principle of art synthesis. The author of the article determined the important role of Ukrainian dance in creating a choreographic performance based on a literary source, because Ukrainian choreographic art is noted for its inexhaustible wealth of dance colors, emotional fervor, subtle folk humor and sincerity of performance, therefore creating a choreographic work based on literary works, especially on national themes, which is an auxiliary factor for activating the harmonious interrelationship of the specified time, space and transmitted events of the work with the means of stage and everyday dance vocabulary. The aim. The purpose and task of the article is to show the interpretation of literary works in the Ukrainian choreographic art of the 20th and early 21 centuries. Research methodology. A content-comparative method for comparing the works of researchers in different fields, the method of historicism - for researching a phenomenon within specific chronological limits, the method of generalization - for identifying the common and different points of view of scientists on the phenomenon under study. Research results: however, in the Ukrainian ballet theater of the late 50s of the 20th century, new aesthetic principles began to dominate, which were of great importance for the development of all musical and choreographic creativity. It is about rejecting prosaic plausibility as the only way to reproduce the truth of life on stage, restoring the hegemony of dance in the system of expressive means. In the ballet work of Ukrainian artists, the direction towards the heroization of the genre, the tendency towards the epic type of drama and the wide use of folklore becomes noticeable. Conclusion. In the process of working on the embodiment of a literary work or an image, the dramaturgy has the ability to change, develop, acquire specific features and details, the dramaturgy becomes alive, filled and exciting for the viewer. The ballet master’s solution to the embodiment of the literary source is embodied by the ballet dancers, who bring it to the audience with their art. The development and enrichment of choreographic art, the search for new forms, in this way, we observe in a creative union with adjacent muses, in interaction with other arts, where choreography does not dissolve in them, but while keeping its face, makes a fruitful contribution to the development of this union. The artistic integrity characteristic of the best choreographic works is based on the principle of synthesis of arts. Forms and means of dance-plastic action, principles of music-choreography dramaturgy, which allow to create works commensurate with the outstanding achievements of other arts, were formed in this experience. The key to the success of choreographic art is the mastery and development of this experience. (shrink)

The purpose of the study is to identify the pedagogical component of the concept "contemporary art", which is a necessary condition for the using contemporary art for solving problems in spiritual and moral education of students. The article describes the main approaches to understanding the category of "contemporary art" and shows how these approaches are reflected in the minds of teachers, class supervisors, and teachers of additional education. The scientific novelty of the research lies in the definition of the pedagogical (...) component of "contemporary art". As a result of the study, formal and substantive approaches to the interpretation of the category "contemporary art" are identified and it is determined the teachers specificity of educational potential of contemporary art, depending on the approach from which the teacher evaluates works of contemporary art. (shrink)

In his article ‘Art and Time’ Patočka argues that Hegel rightly recognized a fundamental difference between classical and contemporary art. In developing Hegel’s insight he offers a conception of two eras of art, the ‘artistic’ era and the era of ‘aesthetic culture’. Patočka supposes that artworks of both the artistic era and the aesthetic era always open up a certain ‘meaning’ that gives human existence its fundamental points of reference. The status of this world, however, radically changed from one era (...) to the next. The art of the artistic era offered objective and binding meaning, whereas aesthetic art offers personal or individual meaning. The current article points to an important discrepancy in Patočka’s treatment of the relation between the two eras, and presents Patočka’s later reading of Hegel’s notion of the past character of art. From the perspective of this interpretation, art reveals temporality as such, that is, as the ontological basis of the revelation of meaning. The article emphasizes that such an interpretation demonstrates the ontological relevance of the artwork in greater detail. Yet Patočka continued to use the concepts of the artistic era and the aesthetic era, without sufficiently clarifying the relationship between the two eras. Finally, the author argues that the discrepancy in the concept can be resolved with the help of Patočka’s later reflections on the ‘problematic nature’ of meaning. The article argues that in classical art such a nature is concealed, whereas in modern art it is revealed again. The article includes an English translation of Patočka´s ‘Art and Time’. (shrink)

The argument moves from the art and civilization of ancient Egypt to that of modern Europe and effortlessly reveals a full and surprising range of language in art - from the magical to the impious, from the ambiguous to the didactic, scientific, and propagandistic.

Professor Kaminsky’s lucid exposition is, surprisingly, the first attempt in English to deal extensively and critically with Hegel’s views on art, as outlined in his difficult volumes on that subject. Hegel on Art thus performs a needed service for those interested in either the philosophy or the history of the fine arts. Hegel’s idealistic metaphysics was the last European endeavor to construct a universal philosophical system on the traditional pattern, and to modern readers it can easily appear more imposing than (...) useful. But in his examination of art, according to Professor Kaminsky, the German philosopher became “the most empirical of the empiricists,” and his observations can be valuable to us quite independent of our commitment to his metaphysics. Moreover, as Professor Kaminsky shows, Hegel’s metaphysical framework does give him an advantage not available under the rigorous skepticism of today’s positivist or symbolist: he can recognize that art mirrors the world of action, and so can provide it with objective validity. As the author concludes in Hegel’s defense: “It may well be that only art can be used to communicate the important episodes that happen to us or others....Without art, we lose one of our great sources of information as to who we are and what we ought to do.”. (shrink)

This chapter contains section titled: Conceptual Issues of Art Interpretation Ontology of Interpretation Notes.

In Republic 376d, the interlocutors discuss the education of children. Much of this passage revolves around the role or function of poetry as mimesis in the polis or city-state. In 377b-378e some of the poetry of Homer, Hesiod and Pindar is deemed harmful and censored within the educational structure of the polis in virtue of its potentially deleterious effect on society.

This chapter contains section titled: Arguing for the Theory Objections Notes.

This article explores the significance of Hegel’s aesthetic lectures for Dewey’s approach to the arts. Although over the last two decades some brilliant studies have been published on the “permanent deposit” of Hegel in Dewey’s mature thought, the aesthetic dimension of Dewey’s engagement with Hegel’s heritage has not yet been investigated. This inquiry will be developed on a theoretical level as well as on the basis of a recent discovery: in Dewey’s Correspondence traces have been found of a lecture on (...) Hegel’s Aesthetics delivered in 1891 within a summer school run by a scholar close to the so-called St. Louis Hegelians. Dewey’s deep and long-standing acquaintance with Hegel’s Aesthetics supports the claim that in his mature book, Art as Experience, he originally appropriated some Hegelian insights. First, Dewey shared Hegel’s strong anti-dualistic and anti-autonomistic conception of the arts, resisting post-Kantian sirens that favored instead an interpretation of art as a separate realm from ordinary reality. Second, they basically converged on an idea of the arts as inherently social activities as well as crucial contributions to the shaping of cultures and civilizations, based on the proximity of the arts to the sensitive nature of man. Third, this article argues that an original re-consideration of Hegel’s thesis of the so-called “end of art” played a crucial role in the formulation of Dewey’s criticism of the arts and of the role of aesthetic experience in contemporary society. The author suggests that we read Dewey’s criticism of the removal of fine art “from the scope of the common or community life” in light of Hegel’s insight that the experience of the arts as something with which believers or citizens can immediately identify belongs to an irretrievable past. (shrink)

Artificial intelligence (AI) art is the product of AI technology applied to art. In terms of technical application, AI art has two methods: symbolism and connectivism. In terms of the human-machine system, there are three levels: human using machine, human guiding machine and human-machine separation. AI art is a special form, existing between natural beauty and human art: AI art, first of all, is not a natural aesthetic object, given that it is the product of artefacts. Its appreciation is mixed (...) with interests, and its artistic generation is a kind of “purposeful non-purposefulness.” Secondly, AI art is not equal to traditional human art, because AI has no intentionality or consciousness. Thirdly, AI participates in the construction of artistic logic and breaks the boundary of traditional art. AI can be regarded as an “agent” in art generation, and together with people constitute the “actor network” of art. The processes of generation, identification and appreciation of AI art include the judgment of true and false. AI art reflects the forced integration of intelligent technology into art, an attempt to rid of contingency, dialectics, and negativity of art. But what we need is the real harmonisation of art and technology. People should use aesthetic reason to guide AI technology. (shrink)

In theOrigin of the work of art, Heidegger claimed that the work of art opens to us thetruth of Being, the opening of the world. Two problematics arise from this. First, his idea of “world-disclosure” evoked a sense ofeverydayness(which captures, for me, the idea of credulism in perception). Second, the senses oftruth,Being, andworldare metaphysically condensed. Hence the question: how then could the “truth of Being” or the “world” that artworks reveal be experienced? Among other ways (mimesis, imagination, perception, etc.) by (...) which artworks are experienced, I choose to examine perception since it confirms this idea ofeverydayness. The questions that confront us to this effect are: can perception lead us into, to encounter, this world opened by artworks? Does the nervous/visual system suffice to enter into that world in which the artist invites us? This is where Richir becomes important. In response to the first problem, he shows that the “perception” (experience) of artworks is beyond mereeverydaynesssince artworks open for us a world that “never was” and “never will be” (i.e., “virtuality” and not a veridical sense ofeverydaynessas captured in the perceptive act that is object-related). This is because the material stuff or object given in perception is neutralized by thephantasiato become what Richir callsSache. ThisSacheis in itself a phenomenon that is disclosed in artworks. In response to the second problem, Richir shows how artworks cannot disclose just metaphysical categories ofBeing, truth, or world. The disclosure has to be phenomenological, corporeal, and affective. He therefore proposes another mode of “perception” beyondmere perceptionin a revolutionary interpretation of the husserlian “perceptive”phantasia.With this, he shows how the aforementioned metaphysical condensations are liveable in experience. I concretize this with an illustration from the theater. Finally, I suggest participation as a phenomenological approach that can make both Heidegger’s and Richir’s intuitions meaningful. (shrink)

Arthur Danto is one of the best Anglophone philosophers of art of the second half of the 20th century. His unique methodology of indiscernibility and provocative claim about the end of art have bee...

Analysing Śniadecki’s articles and chapters from his “Philosophy of Human Mind” dealing with the problems of aesthetic taste, style, wit, imagination and essence of beauty, we question a view of Śniadecki as a dogmatic proponent of Classicism and an enemy to Romanticism, which, in our view, is based on in-depth studies of his most famous nevertheless only one article “On Classical and Romantic Writings”. We suppose that French aesthetics is not the exclusive keystone of Śniadecki’s ideas. Therefore, we examine the (...) peculiarities of his thought in the con-text of their relationship with the ideas by philosophers of the Scottish school of common sense and argue that these are close. His descriptions of taste and style, of the roles of imagination and sensory expressions are similar to Reid's and Stewart's ones. We show that Śniadecki strives to substantiate the objectivist view of aesthetics and rationally explain the essence of beauty and art, but, by surprise, his thought about the relationship between genius and rules is recalling Kantian view. Our conclusion is that Sniadecki's ideas might be attributed to at least neo-Clas-sical, or even to pre-Romanticist period. (shrink)

Timothy J. Golden presents an existential, phenomenological, and political interpretation of Douglass's use of narrative. Reading Douglass with Kierkegaard, Kafka, Kant, and Levinas, Golden argues that analytic theism is an inauthentic preoccupation with knowledge at the expense of a concrete moral sensibility that Douglass's narrative provides.

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] of Art is an engaging collection of essays that covers a broad spectrum of topics, ranging from the philosophy of literature to neuro-aesthetics. Emerging sporadically over the course of 20 years, the stand-alone essays that comprise this volume display little evidence of a sustained, systematic thesis. But this is part of what constitutes the (...) book’s principal charm. Each chapter handles its respective subject with its own methodology, rhetorical mood and degree of rigour. Holt describes the thematic link among his essays as ‘the concept of meaning: what it means to make art, how the meanings we attach to artworks and interpretation shape our appreciation, the nature and value of aesthetic experience, and ultimately the definition of art itself’. It is questionable... (shrink)

The Iconic, Indexical and Intellective are conceptions derived from Charles Sanders Peirce's use of his sign theory. In characterizing different kinds of interpretative activity, they can be used to address certain problems in science, technology and the arts.

(2008). The significance of kierkegaard's interpretation of Don Giovanni in relation to Hegel's philosophy of art1. British Journal for the History of Philosophy: Vol. 16, No. 1, pp. 147-162.

Today, art and education have precarious statuses. Arts programs are being cut from the curriculum at an alarming rate. While the No Child Left Behind Act of 2001 acknowledged the arts as a core academic subject, the arts were quickly eclipsed by the push toward quantifiable improvements on standardized tests. How should art educators respond to this urgent situation? While some might retreat back to an art-for-art’s-sake perspective, others find new justifications for the arts through the discourses of high-stakes testing (...) that have put the arts at risk in the first place. In this second approach, the arts have utility in that they raise test scores.In this essay, I will chart another option, one that does not make... (shrink)

This book reclaims Hegel's notion of the "end of art"-or, more precisely, of "art's past character"-not just as a piece of the history of philosophy but as a living critical and interpretive methodology. It addresses the presence of the past character of art both in Hegel and contemporary philosophy and aesthetics. The book's innovative contribution lies in unifying the Hegelian thesis with discussions of contemporary art and philosophy. The author not only offers a Hegelian exegesis but applies the idea of (...) the past character of art to themes that are both related to Hegel's philosophy, such as the French Revolution and the modern state, Kantian aesthetics, and religion and the sacred space disclosed for art, and going beyond Hegel, such as Celan's poetry, Gramsci's criticism of Croce, human rights, and even the grunge rock band Pearl Jam. Conversely, such non-Hegelian explorations will help enlighten what may look like a specific thread of Hegel's aesthetics, but can be used to shed light on some core motives of his philosophy. The author's interpretation of art's past character reclaims the full value, attractiveness, and philosophical soundness of Hegel's thesis, while rejecting its interpretation in terms of a complete dissolution of the aesthetic element into the philosophical one. Hegel and the Present of Art's Past Character will be of interest to scholars and advanced students working on Hegel, philosophy of art and aesthetics, history of philosophy, political philosophy, and art theory. (shrink)

The aim of this paper is to challenge Fred Beiser’s interpretation of Hegel’s meta-aesthetical position on the future of art. According to Beiser, Hegel’s comments about the ‘pastness’ of art commit Hegel to viewing postromantic art as merely a form of individual self-expression. I both defend and extend to other territory Robert Pippin’s interpretation of Hegel as a proto-modernist, where such modernism involves (i) his rejection of both classicism and Kantian aesthetics, and (ii) his espousal of what one (...) may call reflective aesthetics. By ‘reflective aesthetics’, I mean an aesthetic framework which sees art as a form of enquiry, one whose aim is to not merely excite the imagination but to principally focus attention on social and cultural norms. The meta-aesthetical consequences of reflective aesthetics and their Hegelian heritage have both an interpretive and philosophic value: under my account, Beiser’s reading of Hegel is challenged, and my interpretation of how Hegel envisaged the future of art offers a new and engaging way of understanding one of the most notorious claims in the philosophy of art, namely that art has ended. (shrink)

This study is an archeological investigation into the historically changing relationship between words and images. The result is an encyclopedia of interpretative techniques in which language functions as a model of thought. Three periods come to the fore. In the classical one, grammatical structures are responsible for the dominance of describing and identifying activities. Thought about art departs from the idea, that classificatory systems represent images. _Art criticism_ is the form of interpretation in this period. In the modern period (...) time moves to the foreground. Now attention is focused on changes in grammatical forms instead of changes in constant structures. A hermeneutic form of interpretation comes into being: _Art History_. In the postmodern period one realizes that words fail to establish a consistent relationship with visuality. New, semiological theories of interpretation now explain what images can signify. This volume is of interest for philosophers of art and art theoreticians, as well as for students and professionals in both fields. (shrink)