The nature of art / / A.L. Cothey

• Record Nr.: UNINA9910450028003321
• Autore: Cothey A. L (Antony L.), <1951->
• Pubbl/distr/stampa: London ; ; New York : , : Routledge, , 1990
• ISBN: 1-134-96737-3; 1-280-53908-9; 9786610539086; 0-203-00433-7
• Descrizione fisica: 1 online resource (214 p.)
• Collana: Problems of philosophy
• Disciplina: 701/.17
• Soggetti: Aesthetics; Art - Philosophy; Electronic books.
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Description based upon print version of record.
• Nota di bibliografia: Includes bibliographical references (p. 190-193) and index.
• Nota di contenuto: Cover; Title; Copyright Page; Dedication; Contents; Preface; Introduction; 1. Art is anomalous; 2. Forms of aesthetic scepticism: philistines and iconoclasts; 3. Historical note; 4. The central issues; 5. Aestheticism; I Hedonism and the Theory of Taste; 1. General objections; 2. Beauty as a secondary quality: Hutcheson, Reid, Burke; 3. Beauty as a primary quality: Santayana. Bell; 4. Hume's theory; II Theories that Assign a Direct Practical F'urpose to Art; 1. Nutritional and medicinal analogies; 2. General difficulties; 3. Art as substitute satisfaction: Freud; 4. Tolstoy's theory; 5. Art as a pseudo-capacity: Plato6. Beauty and inspiration: Plato; 7. Metaphysical aestheticism: Plotinus; III Perfection and the Play of Cognition; 1. Aristotle's theory of pleasure; 2. Beauty and perfection: a dilemma; 3. Rationalist aesthetics: Leibniz, Baumgarten; 4. Kant's theory (I): the existence of a non-cognitiveaim of cognition; 5. Kant's theory (2): the sublime and the moralsignijicance of beauty; IV Art as the Experience of Metaphysical Truth; 1. The reception of Kant's theory: Schiller, Schelling; 2. Art and nature: Schelling; 3. Art as the 'sensuous presentation of the Absolute': Hegel4. Hegel's iconoclasm; 5. Art as respite: Schopenhauer; 6. Schopenhauer on ; music; 7. Conclusion: the needfor a theory offorms of knowledge; V Art as Language; 1. Knowledge by acquaintance; 2. The phenomenological approach: Dufrenne; 3. Croce's theory of intuition and expression; 4. Presentational symbols: Langer; 5. Art and the general theory of symbols: Goodman; VI Art and Metaphor; 1. The relevance of metaphor; 2. Theories of metaphor; 3. Literalist and tropist prejudices; 4. Dead and faint metaphor; 5. Viewpoints and exponability; 6. Art as metaphor7. Unanswered questions; VII Virtues and Indirect Pleasures; 1. A problem about pleasure and 'completeness'; 2. Cognitive virtues; 3. A pragmatic theory of beauty; 4. Art as recreation; 5. The 'institutional' theory of art; 6. Cognitive pleasure: Aristotle on happiness; VIII The Aim Behind Perception; 1. Cognition and the essentially metaphorical; 2. The intellect and the senses: Aristotle; 3. Further problems in understanding particulars; 4. The imagination as a pseudo-capacity; 5. Perception and kinaesthetic experience; 6. Productive skills and conceptual empathy; IX Aesthetic Satisfaction1. Peculiarities of aesthetic enjoyment; 2. Perceptual knowledge; 3. Aesthetic understanding (I): empathic enjoyment; 4. Aesthetic understanding (2): beauty and necessity; 5. Beauty and experiential knowledge; X Art and Artistic Abilities; 1. Questions about art; 2. Two theories of artistic abilities; 3. Creative imagination; 4. Inspiration and works of art; 5. Inspiration and artistic success; 6. Understanding art; 7. The value of art: aesthetic experience as a source of meaning; Bibliography; Index
• Sommario/riassunto: Although various aesthetic themes have preoccupied many major philosophers, from Plato to Goodman, the central questions of the philosophy of art have remained ill-defined. This book gives a concise and systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day, and goes on to propose a new theory of aesthetic satisfaction and artistic abilities.