10/27/2022 0 Comments Baumgarten aesthetics pdf to word![]() ![]() The theory of criticism can be understood as a study of part of the practice of art: that part concerned with the reception of artworks, including their description, interpretation, and evaluation. beauty, sublimity, grandeur, or profusion, or with certain kinds of experience distinctively provoked by nature, or certain kinds of attitudes appropriately brought to nature. The aesthetics of nature can be understood to concern itself either with certain distinctive properties of natural phenomena that can be classified as aesthetic, e.g. But on closer inspection, the first of these can be seen to fall comfortably under the second or third conception noted above, and the second and third of these, under the first conception noted above. What might seem to be major concerns of aesthetics that do not immediately fall under one or another of the three conceptions are, first, the aesthetics of nature second, the theory of criticism and third, the nature of craft. There is also no denying that contemporary analytic aesthetics is in very large measure the philosophy of art, even if the analysis of aesthetic phenomena outside of or apart from art is by no means neglected. In any event, the three conceptions can claim to be naturally related in that art, in its creative and receptive dimensions, plausibly provides the richest and most varied arena for the manifesting of aesthetic properties and the having of aesthetic experiences. The question of which of these three foci is the most fundamental, and in particular whether it is the idea of art or the idea of the aesthetic that is conceptually prior, has been much debated (Scruton 1974 Wollheim 1980/1968 Danto 1981). Or aesthetic experience might be conceived as the sort of experience that figures centrally in the appreciation of works of art or the aesthetic properties of things, whether natural or man-made. Or aesthetic properties might be conceived as those prominently possessed by works of art, or those on which aesthetic experience is centrally directed. For example, art might be conceived as a practice in which persons aim to make objects that possess valuable aesthetic properties, or that are apt to give subjects valuable aesthetic experiences. Not surprisingly, there are intimate relations among these three conceptions. And a third focus involves a certain kind of attitude, perception, or experience-one that, once again, could be labelled aesthetic. A second focus involves a certain kind of property, feature, or aspect of things-namely, one that is aesthetic, such as beauty or grace or dynamism. One focus involves a certain kind of practice or activity or object-the practice of art, or the activities of making and appreciating art, or those manifold objects that are works of art. ![]() ![]() One may usefully think of the field of philosophical aesthetics as having three foci, through each of which it might be adequately conceived. These topics are, of course, also addressed at greater length in corresponding chapters elsewhere in this volume. In this chapter I offer first an outline of the structure of philosophical aesthetics as a whole, and then a selective sketch of the development of Anglo-American aesthetics over the past fifty years, focusing on five central topics: the concept of the aesthetic, the definition of art, the ontology of art, representation in art, and expression in art. ![]() Aesthetics is the branch of philosophy devoted to conceptual and theoretical inquiry into art and aesthetic experience. ![]()
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