Aesthetic and Artistic Autonomy (Bloomsbury Studies in

Author note: Owen Hulatt (Editor)

Whether paintings may be thoroughly independent has been time and again challenged within the smooth background of aesthetics. during this selection of specially-commissioned chapters, a crew of specialists talk about the level to which paintings should be defined basically by way of aesthetic categories.

Covering examples from Philosophy, song and artwork historical past and drawing on continental and analytic assets, this quantity clarifies the connection among artistic endeavors and extra-aesthetic issues, together with ancient, cultural or financial elements. It provides a entire evaluation of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. through heavily interpreting how the construction of works of art, and our decisions of those works of art, relate to society and background, Aesthetic and inventive Autonomy presents an insightful and sustained dialogue of a massive query in aesthetic philosophy.

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Pollock, Griselda (1988) Vision and Difference; Femininity, Feminism, and the Histories of Art. London: Routledge. Trivedi, Saam (2001) ‘An Epistemic Dilemma for Actual Intentionalism’. British Journal of Aesthetics, vol. 41. Vogel, Susan M. (1997) Baule: African Art/Western Eyes. New Haven, CT and London: Yale University Press. , William K. and Beardsley, Monroe K. (1954) The Verbal Icon; Studies in the Meaning of Poetry. University of Kentucky Press. 2 Aesthetic Autonomy and Artistic Heteronomy Robert Stecker Preface This chapter is about the nature of and the relation between aesthetic value and artistic value.

The way in which characters in a literary plot or in a painted landscape ‘balance’ one another within the respective works). For more on this distinction see my Art and Embodiment; From Aesthetics to Self-consciousness (Oxford: Clarendon Press, 1993), pp. 19–20. 10 See, for example, Chapter 1 of Defining Art, and more detailed expositions in both The Transhistorical Image and Art and Embodiment. 11 See my paper ‘From Visual Culture to Visual Art; The Normative Shift’, Journal of Contemporary Thought, No.

Hence, when we investigate Larkin’s poems we find that the narrow partialities which structured his actual existence become something different in the poems. Frailty, frustration, isolation and longing are expressed in a form which allows them to be explored and reappropriated in terms of the reader’s own existential context; Larkin is not wholly immersed in the prejudices of a damaged life. Rather, by making experience into poems, he distances it from actual events so as to manifest – in a way which engages both understanding and imagination – the fallibilities of human existence per se.

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