Abell, Catharine. Art: What It Is and Why It Matters
2012, Philosophy and Phenomenological Research 85: 671–91.
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Added by: Simon Fokt
Content: The first three sections of this paper offer a very useful overview of modern definitions of art. Most major types of definitions are introduced and explained in a succinct way, followed by a discussion of selected objections they face. First, Abell introduces functionalism and discusses its problems with extensional adequacy. Second, procedural theories including Dickie’s institutional and Levinson’s historical definitions are discussed, and criticized for their circularity and inability to account for art’s value. Next, Abell considers two mixed theories, formulated by Robert Stecker and David Davies. She shows how they can overcome the difficulties discussed above, but run into their own problems. Finally, Berys Gaut’s cluster account is introduced and criticized for its circularity and difficulties in determining all sufficiency conditions for being an artwork. In the remainder of the paper Abell focuses on developing her own version of the institutional theory.Abell, Catharine. Pictorial realism2007, Australasian Journal of Philosophy 85 (1):1 - 17.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to see them. This account meets the criteria I have identified and is superior to alternative accounts of realism.Comment:
Abhinavagupta. Abhinavabhāratī2006, In M.M. Ghosh (ed.) Nāṭyaśāstra of Bharatamuni: Text, Commentary of Abhinava Bharati by Abhinavaguptacarya and English Translation.Delhi: New Bharatiya Book Corporation.-
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Added by: Meilin Chinn
Summary: Abhinavagupta’s famed commentary on Bharatamuni’s treatise on drama, the Nāṭyaśāstra, in which he details aesthetic expression and experience according to a theory of rasa, or aesthetic relish. Abhinavagupta’s theory is the most influential account of how the rasas or aesthetic emotions transcend the bounds of the spectator and artwork in a three-part process including depersonalization, universalization, and identification.Comment: This text is appropriate for an in-depth study of Indian aesthetics. It requires an at least an introductory background in Indian philosophy to be accessible.
Brand, Peg Zeglin. Glaring Omissions in Traditional Theories of Art2000, in Theories of Art Today, ed. by Noel Carroll (London: The University of Wisconsin Press)-
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Added by: Simon Fokt
Abstract: I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” a future that unfortunately rests upon the same outdated foundation as the concept “art.”.Comment: This text offers an overview of the feminist critique of the classificatory project. It assumes some basic knowledge and is best used after the main modern theories of art have been introduced. The pointed critique and clearly stated suggestions for constructing unbiased theories, make it excellent at inspiring a critical discussion on the subject of universalism and discrimination in both art practice and theory. Perhaps more importantly, the argument offered and the long lists of female artists and art theorists which support it, can have an empowering and validating role to many female students.
Camp, Elisabeth. Two Varieties of Literary Imagination: Metaphor, Fiction, and Thought Experiments2009, Midwest Studies in Philosophy 33 (1):107-130.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Recently, philosophers have discovered that they have a lot to learn from, or at least to ponder about, fiction. Many metaphysicians are attracted to fiction as a model for our talk about purported objects and properties, such as numbers, morality, and possible worlds, without embracing a robust Platonist ontology. In addition, a growing group of philosophers of mind are interested in the implications of our engagement with fiction for our understanding of the mind and emotions: If I don't believe that Anna Karenina exists, can I really pity her, or hope or desire that she extricate herself from her tragic situation? And why is there no 'morality fiction,' analogous to science fiction? I suspect that philosophers have been especially comfortable thinking about fiction because it seems, at least prima facie, to employ the imagination in a way that conforms to a standard model of the mind. Specifically, contemporary philosophers tend to think of imagination as a form of mental pretense. Mental pretense can take two main forms: a cognitive attitude of supposing a set of propositions to be true (make-believe) or else an experiential state of imaging a scenario as if it were before one (imaging). Much of our pretense intertwines the cognitive and experiential modalities, of course. But both share a crucial common feature: all of one's imaginative effort is invested in pretending that certain contents obtain. In this sense, we can understand imagination as the 'offline' simulation of actual beliefs and perceptions (and perhaps other attitudes as well), where we analyze these in the normal way, as states individuated by their attitude and representational content. While I share the burgeoning interest in fiction, I want to suggest that we also have a lot to learn from poetry, and in particular from poetic metaphor. I will argue..Comment:
Chakrabarti, Arindam. Ownerless Emotions in Rasa-Aesthetics2011, In Ken-ichi Sasaki (ed.). Asian Aesthetics. National Univeristy of Singapore Press.-
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Added by: Meilin Chinn
Summary: Chakrabarti explores the possibilities of rasa theory via the question of whose emotion is experienced when an audience relishes a work of art. Chakrabarti argues for the existence of a “centerless non-singular subjectivity” according to which the special emotions savored in aesthetic experience do not have specific owners. These personless sentiments indicate an ethical relationship between aesthetic imagination and moral unselfishness.Comment: This text could serve as both an overview of rasa theory in Indian aesthetics, as a basis for comparative work in cross-cultural aesthetics, as well as comparative philosophy.
Related reading:
- Abhinavabhāratī. Abhinavagupta. In Nāṭyaśāstra of Bharatamuni: Text, Commentary of Abhinava Bharati by Abhinavaguptacarya and English Translation. M.M. Ghosh (ed.). Delhi: New Bharatiya Book Corporation, 2006.
Related reading:
- Abhinavabhāratī. Abhinavagupta. In Nāṭyaśāstra of Bharatamuni: Text, Commentary of Abhinava Bharati by Abhinavaguptacarya and English Translation. M.M. Ghosh (ed.). Delhi: New Bharatiya Book Corporation, 2006.
Chari, V.K.. Validity in Interpretation: Some Indian Views1978, Journal of Aesthetics and Art Criticism 36(3): 329-340.-
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Added by: Meilin Chinn
Summary: An outline of the theory of interpretation within the language philosophies of ancient India. Chari organizes this extensive history according to topics such as verbal autonomy, intention, unity of meaning, polysemy, contextualism, and interpretation.Comment: This text is appropriate for discussions of language and meaning in aesthetics, as well as philosophy of language.
Choi, Jinhee. All the right responses: Fiction films and warranted emotions2003, British Journal of Aesthetics 43 (3):308-321.-
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Added by: Chris Blake-Turner, Contributed by: Christy Mag Uidhir
Abstract: Cognitive theories of emotions have provided us with explanations of how we emotionally engage with fiction, when we are aware that what is depicted is fictional. However, these theories left an important question unanswered: namely, what kinds of emotional responses to fiction are warranted responses. The main focus of this paper is how our emotional responses to fiction can be aesthetically warranted - that is, how emotions directed to fiction can be warranted given the fact that its object is an artwork. I consider three possible explanations of this phenomenon: the real-life principle, a correspondence model, and a functional model. I argue that the real-life principle and the correspondence model fall short of explaining how our emotional responses to film are aesthetically warranted, and instead I argue that a functional model provides such an explanation. In this paper, I will primarily focus on fiction films, although I will address novels and other art forms where necessary.Comment:
Chung-Yuan Chang. Immeasurable potentialities of creativity2011, In Chung-Yuan Chang (ed.). Creativity and Taoism: A Study of Chinese Philosophy, Art, and Poetry. London & Philadelphia: Singing Dragon.-
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Added by: Meilin Chinn
Summary: A study of the Taoist (Daoist) concept of creativity as a non-instrumental process in which all things create themselves. Chang argues for the foundational place of this understanding of self-emergent creativity in the aesthetics of Chinese art.Comment: Can be used as both an introduction to Daoism and to Chinese aesthetics.
Related reading:
- Laozi, Tao Te Ching. D. C. Lau, trans. New York: Addison Wesley, 2000.
Related reading:
- Laozi, Tao Te Ching. D. C. Lau, trans. New York: Addison Wesley, 2000.
Coomaraswamy, Ananda K.. Samvega, ‘Aesthetic Shock’1943, Harvard Journal of Asiatic Studies 7(3): 174-179.-
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Added by: Meilin Chinn
Summary: An explication of the Pali aesthetic term samvega as the state of shock and wonder at a work of art that occurs when the implications of its aesthetic qualities are experienced. Despite being an emotion, Coomaraswamy associates samvega with disinterested aesthetic contemplation.Comment: This text would work well in a focused study of Indian aesthetics, as well in a cross-cultural study of disinterest in aesthetics.
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Comment: This text can provide the students with an overview of modern definitions of art. Theories are presented in a clear, succinct way, with their main features, strengths and weaknesses identified. The selection of objections discussed, however, is not representative – rather it serves the aim of developing Abell’s own definition. The later sections of the text are excellent, but address much more complex issues and are significantly less accessible for undergraduate students. They might be used in Masters level teaching or as advanced further reading on the institutional definition.