Preface.- Chapter One: The Artistic and The Aesthetic: A Distinction Considered. - 1.1 A crucial distinction.- 1.2 Transfiguration and artistic properties- 1.3 Some corollaries of the distinction.- 1.4 Contrasting views of the aesthetic.- 1.5 The artistic as sensuous?- 1.6The 'ambiguity' of artistic properties.- 1.7 An example: the case of Marla.- 1.8 Exploring the contrast: methodology.- 1.9 Outline of this work.- 1.10 On not defining art.- Chapter Two: Art, Meaning and Occasion-Sensitivity.- 2.1 Meaning meaning.- 2.2 Exceptions (a): dealing with defeasibility.- 2.3 Exceptions (b): disambiguation?- 2.4 An occasion-sensitive view of meaning and understanding.- 2.5 Contextualism in philosophical aesthetics.- 2.6 Competent judges.- 2.7 Meaning, explaining, and artistic properties.- 2.8 Meaning, explanation and content.- 2.9 The context of philosophical aesthetics.- Chapter Three: Art and Life-Issues: Meeting Counter-Cases.- 3.1 Artistic value and life-issues.- 3.2 Life-issues connection to artworks?- 3.3 The importance of life-issues.- 3.4. Learning from art?- 3.5 Art and moral value: moderate moralism, ethicism.- 3.6 A seven-part strategy.- 3.7 Literary value and moral understanding: Nussbaum.- 3.8 A conflict between morality and art?- 3.9 Conclusion.- Chapter Four: Intention, Authorship and Artistic Realism.- 4.1 The intention of the artist.- 4.2 Excursus: Hypothetical intentionalism and its discontents.- 4.3 The embodiment of artistic meaning.- 4.4 Making meaning: the concept "art".- 4.5 Making sense: 'history of production'.- 4.6 Response-reliance and artistic properties.- 4.7 Understanding and criticism.- 4.8 Criticism and inference.- 4.9 The 'reality' of artistic properties.- Chapter Five: The Historical Character of Art.- 5.1 Precursors and the past.- 5.2 Art, change of meaning and standard historicism.- 5.3 Forward retroactivism, and the threat of misperception.- 5.4 Are these genuine properties?- 5.5 Reasons and 'new evidence'.- 5.6 Arethese new properties?- 5.7 Making sense of the past.- 5.8 Oeuvre, action and understanding.- 5.9 Genre and artistic intention.- 5.10 An argument against any historicism.- 5.11 Historical character and understanding - some realism.- Chapter Six: The Republic of Art: A Plausible Institutional Account of Art?- 6.1 The idea of an institutional concept.- 6.2 Sketch of an institutional account of art.- 6.3 A more plausible (than Dickie's) account of art.- 6.4 Topics for criticism.- 6.5 Does Dickie's later theory fare better?- 6.6 Wollheim's criticism.- 6.7 Critical reflections.- 6.8 Can the institution be wrong?- 6.9 The Friends of Jones. 6.10 What the account offers. Chapter Seven: Conclusion.- 7.1 The framework: a summary.- 7.2 The aesthetic reconsidered.- 7.3 Envoi: The Muscular Aesthetic.
Preface.- Chapter One: The Artistic and The Aesthetic: A Distinction Considered. - 1.1 A crucial distinction.- 1.2 Transfiguration and artistic properties- 1.3 Some corollaries of the distinction.- 1.4 Contrasting views of the aesthetic.- 1.5 The artistic as sensuous?- 1.6The 'ambiguity' of artistic properties.- 1.7 An example: the case of Marla.- 1.8 Exploring the contrast: methodology.- 1.9 Outline of this work.- 1.10 On not defining art.- Chapter Two: Art, Meaning and Occasion-Sensitivity.- 2.1 Meaning meaning.- 2.2 Exceptions (a): dealing with defeasibility.- 2.3 Exceptions (b): disambiguation?- 2.4 An occasion-sensitive view of meaning and understanding.- 2.5 Contextualism in philosophical aesthetics.- 2.6 Competent judges.- 2.7 Meaning, explaining, and artistic properties.- 2.8 Meaning, explanation and content.- 2.9 The context of philosophical aesthetics.- Chapter Three: Art and Life-Issues: Meeting Counter-Cases.- 3.1 Artistic value and life-issues.- 3.2 Life-issues connection to artworks?- 3.3 The importance of life-issues.- 3.4. Learning from art?- 3.5 Art and moral value: moderate moralism, ethicism.- 3.6 A seven-part strategy.- 3.7 Literary value and moral understanding: Nussbaum.- 3.8 A conflict between morality and art?- 3.9 Conclusion.- Chapter Four: Intention, Authorship and Artistic Realism.- 4.1 The intention of the artist.- 4.2 Excursus: Hypothetical intentionalism and its discontents.- 4.3 The embodiment of artistic meaning.- 4.4 Making meaning: the concept "art".- 4.5 Making sense: 'history of production'.- 4.6 Response-reliance and artistic properties.- 4.7 Understanding and criticism.- 4.8 Criticism and inference.- 4.9 The 'reality' of artistic properties.- Chapter Five: The Historical Character of Art.- 5.1 Precursors and the past.- 5.2 Art, change of meaning and standard historicism.- 5.3 Forward retroactivism, and the threat of misperception.- 5.4 Are these genuine properties?- 5.5 Reasons and 'new evidence'.- 5.6 Arethese new properties?- 5.7 Making sense of the past.- 5.8 Oeuvre, action and understanding.- 5.9 Genre and artistic intention.- 5.10 An argument against any historicism.- 5.11 Historical character and understanding - some realism.- Chapter Six: The Republic of Art: A Plausible Institutional Account of Art?- 6.1 The idea of an institutional concept.- 6.2 Sketch of an institutional account of art.- 6.3 A more plausible (than Dickie's) account of art.- 6.4 Topics for criticism.- 6.5 Does Dickie's later theory fare better?- 6.6 Wollheim's criticism.- 6.7 Critical reflections.- 6.8 Can the institution be wrong?- 6.9 The Friends of Jones. 6.10 What the account offers. Chapter Seven: Conclusion.- 7.1 The framework: a summary.- 7.2 The aesthetic reconsidered.- 7.3 Envoi: The Muscular Aesthetic.
Rezensionen
From the reviews: "As its title promises, Artistic Judgment: A Framework for Philosophical Aesthetics develops a theoretical account of the nature of philosophical aesthetics, and, within that framework, addresses some important issues in the philosophy of art, all focally related to artistic judgement. ... in the present philosophical context, readers who are not sympathetic to Wittgensteinian approaches to aesthetics, as well as those who are, should read this extremely interesting book." (Thomas Adajian, British Journal of Aesthetics, Vol. 51 (4), October, 2011)
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