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Author: Benjamin R. Tilghman
Publisher: Springer Science & Business Media
ISBN: 9401032262
Category : Philosophy
Languages : en
Pages : 112
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Book Description
The philosophy of art, aesthetics, is here understood to be something distinct from both art appreciation and art criticism. The philosophy of art is never theless dependent upon the existence of appreciation and criticism because it is out of reflection upon these that the uniquely philosophical problems of art arise, problems that reflect puzzlement about what is involved in under standing, enjoying, describing, and evaluating works of art. Hence the philo sophy of art must presuppose at least some measure of understanding and appreciation of particular works of art and if such understanding and appre ciation are lacking the philosopher is in no position to supply them. It can not be a philosophical task to undertake a Defense of Poesie against either the philistine or the tyrant. The philosopher is not the one to convince us that art is a Good Thing, that paintings are worth looking at, poems worth reading, and music worth listening to, if for no other reason than that philo sophical theory and argument are no substitute for taste and sensibility. My position here is the now unexceptional one that philosophical problems are essentially conceptual problems and while the philosopher of art cannot produce aesthetic sensibility and appreciation where these do not exist, he can give us understanding of the concepts relevant to artistic appreciation and thereby help us to see our way through the conceptual confusions that have generated the philosophical puzzles surrounding art, its appreciation and criticism.
Author: Benjamin R. Tilghman
Publisher: Springer Science & Business Media
ISBN: 9401032262
Category : Philosophy
Languages : en
Pages : 112
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Book Description
The philosophy of art, aesthetics, is here understood to be something distinct from both art appreciation and art criticism. The philosophy of art is never theless dependent upon the existence of appreciation and criticism because it is out of reflection upon these that the uniquely philosophical problems of art arise, problems that reflect puzzlement about what is involved in under standing, enjoying, describing, and evaluating works of art. Hence the philo sophy of art must presuppose at least some measure of understanding and appreciation of particular works of art and if such understanding and appre ciation are lacking the philosopher is in no position to supply them. It can not be a philosophical task to undertake a Defense of Poesie against either the philistine or the tyrant. The philosopher is not the one to convince us that art is a Good Thing, that paintings are worth looking at, poems worth reading, and music worth listening to, if for no other reason than that philo sophical theory and argument are no substitute for taste and sensibility. My position here is the now unexceptional one that philosophical problems are essentially conceptual problems and while the philosopher of art cannot produce aesthetic sensibility and appreciation where these do not exist, he can give us understanding of the concepts relevant to artistic appreciation and thereby help us to see our way through the conceptual confusions that have generated the philosophical puzzles surrounding art, its appreciation and criticism.
Author: Benjamin R. Tilghman
Publisher:
ISBN: 9789401032278
Category : Gardening
Languages : en
Pages : 0
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Book Description
Author: Derek Matravers
Publisher: Taylor & Francis
ISBN: 1040253628
Category : Philosophy
Languages : en
Pages : 179
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Book Description
The visual arts have long been held to have an intimate link with emotions. Despite this, the topic remains underexplored; when the expression of emotion is discussed, it is usually in relation to music. This volume corrects this lacuna and presents a variety of perspectives on the expression of emotion in the visual arts with contributions from both established and early career academics. There are chapters on the empathy theory of beauty; enaction and artistic expression; emotion and experimental psychology; a ‘persona’ theory of visual expression; and self-expression in portraiture. There are also chapters discussing the contributions to the topic by Susanne Langer and Richard Wollheim as well as a chapter comparing the work of R.G. Collingwood and Maurice Merleau-Ponty. The Expression of Emotion in the Visual Arts will be of interest to students and researchers in the philosophy of art and aesthetics, as well as those interested in conceptual issues in the visual arts.
Author: Michael H. Mitias
Publisher: Rodopi
ISBN: 9789051837667
Category : Architecture
Languages : en
Pages : 286
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Book Description
Author: P. Kivy
Publisher: Springer Science & Business Media
ISBN: 940102412X
Category : Philosophy
Languages : en
Pages : 147
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Book Description
As the title of this book was meant to suggest, its subject is the way we talk about (and write about) works of art: or, rather, one of the ways, namely, the way we describe works of art for critical purposes. Be cause I wished to restrict my subject matter in this way, I have made a sharp, and no doubt largely artificial distinction between describing and evaluating. And I must, at the outset, guard against a misreading of this distinction to which I have left myself open. In distinguishing between evaluative and descriptive aesthetic judgments, I am not saying that when I assert "X is p," where p is a "descriptive" term like "unified," or "delicate," or "garish," I may not at the same time be evaluating X too; and I am not saying that when I make the obviously "evaluative" assertion "X is good," I may not be describing X. Clearly, if I say "X is unified" I am evaluating X in that unity is a good-making feature of works of art; and as it is correct in English at least to call an evaluation a description, I do not want to suggest that if an assertion is evaluative, it cannot be de scriptive (although there have been many philosophers who have thought this indeed to be the case).
Author: David Sander
Publisher: OUP Oxford
ISBN: 0191021008
Category : Psychology
Languages : en
Pages : 512
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Book Description
Few areas have witnessed the type of growth we have seen in the affective sciences in the past decades. Across psychology, philosophy, economics, and neuroscience, there has been an explosion of interest in the topic of emotion and affect. Comprehensive, authoritative, up-to-date, and easy-to-use, the new Oxford Companion to Emotion and the Affective Sciences is an indispensable resource for all who wish to find out about theories, concepts, methods, and research findings in this rapidly growing interdisciplinary field - one that brings together, amongst others, psychologists, neuroscientists, social scientists, philosophers, and historians. Organized by alphabetical entries, and presenting brief definitions, concise overviews, and encyclopaedic articles (all with extensive references to relevant publications), this Companion lends itself to casual browsing by non-specialists interested in the fascinating phenomena of emotions, moods, affect disorders, and personality as well as to focused search for pertinent information by students and established scholars in the field. Not only does the book provide entries on affective phenomena, but also on their neural underpinnings, their cognitive antecedents and the associated responses in physiological systems, facial, vocal, and bodily expressions, and action tendencies. Numerous entries also consider the role of emotion in society and social behavior, as well as in cognitive processes such as those critical for perception, attention, memory, judgement and decision-making. The volume has been edited by a group of internationally leading authorities in the respective disciplines consisting of two editors (David Sander and Klaus Scherer) as well as group of 11 associate editors (John T. Cacioppo, Tim Dalgleish, Robert Dantzer, Richard J. Davidson, Ronald B. de Sousa, Phoebe C. Ellsworth, Nico Frijda, George Loewenstein, Paula M. Niedenthal, Peter Salovey, and Richard A. Shweder). The members of the editorial board have commissioned and reviewed contributions from major experts on specific topics. In addition to comprehensive coverage of technical terms and fundamental issues, the volume also highlights current debates that inform the ongoing research process. In addition, the Companion contains a wealth of material on the role of emotion in applied domains such as economic behaviour, music and arts, work and organizational behaviour, family interactions and group dynamics, religion, law and justice, and societal change. Highly accessible and wide-ranging, this book is a vital resource for scientists, students, and professionals eager to obtain a rapid, conclusive overview on central terms and topics and anyone wanting to learn more about the mechanisms underlying the emotions dominating many aspects of our lives.
Author: Derek Matravers
Publisher: Oxford University Press
ISBN: 9780199243167
Category : Art
Languages : en
Pages : 252
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Book Description
The author's aim in this study is to show that what experiences of art and emotion have in common and what links them to the expression of emotion in non-artistic cases, is the role played by feeling.
Author: Metropolitan Museum of Art (New York, N.Y.). Library
Publisher:
ISBN:
Category : Art
Languages : en
Pages : 702
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Book Description
Author: Melanie V. Dawson
Publisher: University of Michigan Press
ISBN: 0472121154
Category : Literary Collections
Languages : en
Pages : 319
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Book Description
Focusing on representational approaches to emotion during the years of American literary realism’s dominance and in the works of such authors as Edith Wharton, Alice Dunbar-Nelson, W. D. Howells, Charles Chesnutt, and others, Emotional Reinventions: Realist-Era Representations Beyond Sympathy contends that emotional representations were central to the self-conscious construction of high realism (in the mid-1880s) and to the interrogation of its boundaries. Based on realist-era authors’ rejection of “sentimentalism” and its reduction of emotional diversity (a tendency to stress what Karen Sanchez-Eppler has described as sentimental fiction’s investment in “overcoming difference”), Melanie Dawson argues that realist-era investments in emotional detail were designed to confront differences of class, gender, race, and circumstance directly. She explores the ways in which representational practices that approximate scientific methods often led away from scientific theories and rejected rigid attempts at creating emotional taxonomies. She argues that ultimately realist-era authors demonstrated a new investment in individuated emotional histories and experiences that sought to honor all affective experiences on their own terms.
Author:
Publisher:
ISBN:
Category : Philosophy
Languages : en
Pages : 86
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Book Description
