Aesthetics: A Comprehensive Anthology / Edition 1by Steven M. Cahn
The appreciation of art and the pursuit of beauty are fundamental elements of human life, and for almost as long as we have engaged in philosophical inquiry we have been theorizing about aesthetic matters. Covering nearly 2,500 years of theory and analysis, this anthology offers the most comprehensive collection of readings on aesthetics and philosophy of art… See more details below
The appreciation of art and the pursuit of beauty are fundamental elements of human life, and for almost as long as we have engaged in philosophical inquiry we have been theorizing about aesthetic matters. Covering nearly 2,500 years of theory and analysis, this anthology offers the most comprehensive collection of readings on aesthetics and philosophy of art currently available. From Plato's Ion to work by contemporary philosophers of art, Aesthetics: A Comprehensive Anthology showcases classic texts that speak for themselves in showing the development of philosophical thought about art and the aesthetic. Thorough, systematic, and flexible, this volume is an ideal guide to the field and makes an excellent textbook for a variety of courses in philosophical aesthetics.
Table of Contents
Aesthetics: Classic and Contemporary Readings.
Edited by Cahn and Meskin.
Part I: Historical Sources.
1. The Modern System of the Arts: Paul Oskar Kristeller.
2. Ion: Plato.
3. The Republic: Plato.
4. Symposium: Plato.
5. Poetics: Aristotle.
6. Ennead I, vi: Plotinus.
7. Of Music: St. Augustine.
8. On the Reduction of the Arts to Theology: St. Bonaventure.
9. Characteristics of Men, Manners, Opinions, Times: Third Earl of Shaftesbury.
10. Inquiry into the Origins of our Ideas of Beauty and Virtue: Francis Hutcheson.
11. Of the Standard of Taste: David Hume.
12. Philosophical Inquiry into the Origin of our Ideas on the Sublime and the Beautiful: Sir Edmund Burke.
13. Laocoon: Gotthold Lesing.
14. Critique of Judgment: Immanuel Kant.
Part II: Modern Theories.
15. Introduction to Modern Theories: Christopher Janaway.
16. Letter of an Aesthetic Education of Man: Friedrich Schiller.
17. Philosophy of Art: Friedrich J.W. Schelling.
18. The Philosophy of Fine Art: Georg W.F. Hegel.
19. The World as Will and Representation: Arthur Schopenhauer.
20. The Beautiful in Music: Eduard Hanslick.
21. The Birth of Tragedy: Friedrich Nietzsche.
22. What is Art?: Leo Tolstoy.
23. ‘Psychical Distance’ as a Factor in Art and as an Aesthetic Principle: Edward Bullough.
24. Art: Clive Bell.
25. Aesthetics: Benedetto Croce.
26. The Principles of Art: R.G. Collingwood.
27. Art as Experience: John Dewey.
28. Feeling and Form: Susanne Langer.
29. The Work of Art in the Age of Mechanical Reproduction: Walter Benjamin.
30. The Origin of the Work of Art: Martin Heidegger.
31. Aesthetic Theory: Theodor Adorno.
32. Truth and Method: Hans-Georg Gadamer.
Part III: Contemporary Aesthetics and Philosophy of Art.
33. Introduction to Contemporary Aesthetics: Susan Feagin and Aaron Meskin.
34. Aesthetic Problems of Modern Philosophy: Stanley Cavell.
35. The Role of Theory in Aesthetics: Morris Weitz.
36. The Artworld: Arthur Danto.
37. What is Art? An Institutional Analysis: George Dickie.
38. When is Art?: Nelson Goodman.
39. Identifying Art: Noel Carroll.
40. The Myth of the Aesthetic Attitude: George Dickie.
41. Art and its Objects: Richard Wollheim.
42. What a Musical Work Is: Jerrold Levinson.
43. Aesthetic Concepts: Frank Sibley.
44. Beauty Restored: Mary Mothersill.
45. Categories of Art: Kendall Walton.
46. Appreciation and the Natural Environment: Allen Carlson.
47. The Intentional Fallacy: W.K. Wimsatt and Monroe Beardsley.
48. The Postulated Author: Critical Monism as a Regulative Ideal: Alexander Nehamas.
49. Art Intention and Conversation: Noel Carroll.
50. The Ethical Criticism of Art: Berys Gaut.
51. Expressive Properties of Art: Guy Sircello.
52. Style and Personality in the Literary Work: Jenefer Robinson.
53. Emotions in the Music: Peter Kivy.
54. Fearing Fictions: Kendall Walton.
55. Oppressive Texts, Resisting Readers and the Gendered Spectator: Mary Devereaux
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