We engage with works of art in many ways, yet almost all modern philosophers of art have focused entirely on one mode of engagement: disinterested attention. Nicholas Wolterstorff explores why this is, and offers an alternative framework according to which arts are a part of social practice, and have different meaning in different practices.
We engage with works of art in many ways, yet almost all modern philosophers of art have focused entirely on one mode of engagement: disinterested attention. Nicholas Wolterstorff explores why this is, and offers an alternative framework according to which arts are a part of social practice, and have different meaning in different practices.
Nicholas Wolterstorff is Noah Porter Professor Emeritus of Philosophical Theology at Yale University, and Senior Research Fellow at the Institute for Advanced Studies in Culture at the University of Virginia. He is the author of many books, including Understanding Liberal Democracy (OUP, 2012) and Works and Worlds of Art (Clarendon Press, 1980).
Inhaltsangabe
Introduction Part One: The Grand Narrative of Art in the Modern World 1: The Early Modern Revolution in the Arts 2: Why the Revolution? 3: The Grand Narrative and the Grand Narrative Theses 4: Wherein Lies the Worth of Disinterested Attention? 5: Art, Religion, and the Grand Narrative Part Two: Why The Grand Narrative Has To Go 6: The Inapplicability of the Grand Narrative to Recent Art 7: Why the Grand Narrative Never Was Tenable Part Three: A New Framework For Thinking About The Arts 8: The Arts as Social Practices 9: Meaning of Works of the Arts and Artworks Part Four: Memorial Art 10: The Social Practices of Memorial Art 11: The Memorial Meaning of the Mural Art of Belfast Part Five: Art For Veneration 12: The Social Practices of Art for Veneration Part Six: Social Protest Art 13: The Social Practices of Social Protest Art 14: The Social Protest Meaning of Uncle Tom's Cabin 15: The Social Protest Meaning of the Graphic Art of Käthe Kollwitz Part Seven: Art That Enhances 16: Work Songs: Social Practice and Meaning Part Eight: The Art-Reflexive Art of Today's Art World 17: The Social Practices of Art-Reflexive Art 18: Art-Reflexive Meaning in the Work of Sherrie Levine Epilogue: Good Works and Just Practices 19: What Happened to Beauty? 20: The Pursuit of Justice and the Social Practices of Art
Introduction Part One: The Grand Narrative of Art in the Modern World 1: The Early Modern Revolution in the Arts 2: Why the Revolution? 3: The Grand Narrative and the Grand Narrative Theses 4: Wherein Lies the Worth of Disinterested Attention? 5: Art, Religion, and the Grand Narrative Part Two: Why The Grand Narrative Has To Go 6: The Inapplicability of the Grand Narrative to Recent Art 7: Why the Grand Narrative Never Was Tenable Part Three: A New Framework For Thinking About The Arts 8: The Arts as Social Practices 9: Meaning of Works of the Arts and Artworks Part Four: Memorial Art 10: The Social Practices of Memorial Art 11: The Memorial Meaning of the Mural Art of Belfast Part Five: Art For Veneration 12: The Social Practices of Art for Veneration Part Six: Social Protest Art 13: The Social Practices of Social Protest Art 14: The Social Protest Meaning of Uncle Tom's Cabin 15: The Social Protest Meaning of the Graphic Art of Käthe Kollwitz Part Seven: Art That Enhances 16: Work Songs: Social Practice and Meaning Part Eight: The Art-Reflexive Art of Today's Art World 17: The Social Practices of Art-Reflexive Art 18: Art-Reflexive Meaning in the Work of Sherrie Levine Epilogue: Good Works and Just Practices 19: What Happened to Beauty? 20: The Pursuit of Justice and the Social Practices of Art
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