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Switch to: References
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This chapter reconstructs the neo‐Wittgensteinian proposals, and re‐examines the “family resemblances” passages from the Philosophical Investigations. Arthur Danto chooses to explain the historically contextual nature of art in some of the same terms as Wittgenstein sketches for language. The neo‐Wittgenstein view is typically reconstructed as a conjunction of two claims about the concept of art: the concept is not definable and it needs to be understood along the lines of Wittgenstein's discussion of “family resemblances.” The concept of art evolves historically (...) |
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In this paper, I show that, in a number of publications in the early 1950s, Margaret Macdonald argues that art does not admit of definition, that art is—in the sense associated with Wittgenstein—a family resemblance concept, and that definitions of art are best understood as confused or poorly expressed contributions to art criticism. This package of views is most typically associated with a famous paper by Morris Weitz from 1956. I demonstrate that Macdonald advanced that package prior to Weitz, indeed, (...) |
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The stand-up special is growing cultural significance just as it is maturing and becoming more distinct as an art form. Philosophical treatments of the special are therefore neither frivolous nor redundant. I argue here that such inquiry can be aided by a definitional account of “special” and that an essential definition – if one is available- would serve us best. I then offer a candidate definition of this kind and reply to some likely objections to it. |
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What more do we need to fully appreciate perfumes, beyond considering them objects for aesthetic appreciation? My contention is that our appreciation of some perfumes would be largely incomplete, unless we acknowledged them as works of art. I defend the claim that some perfumes are works of art from the point of view of different definitions. Nick Zangwill’s aesthetic definition makes it easy to defend the proposed claim, but is not very informative for the purposes of fully appreciating some perfumes. (...) |
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La estética analítica hizo suyo, entre otros, el problema de la definición del arte y halló en el concepto dantiano de artworld una alternativa de solución eficiente. Motivador de subsecuentes propuestas, el costado más contextualista del programa de Arthur Danto debe aún enfrentar el reclamo de una supuesta falta de especificidad. Este escrito busca poner en diálogo dicho aporte teórico con los desarrollos hechos por Nelson Goodman en torno al arte a fin de aportar elementos de efectiva visibilidad frente a (...) |
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From the late nineteenth century to the 1950s one of the main foci of aesthetic inquiry was the attempt to develop definitions of art and such related concepts as visual art, music, tragedy, beauty, and metaphor. Clive Bell (1958) famously stated that either all works of visual art have some common quality or when we speak of “work of art” we speak nonsense. DeWitt H. Parker (1939) argued more generally that the assumption underlying every philosophy of art is the existence (...) |
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Michael Naish; Education and Essential Contestability Revisited, Journal of Philosophy of Education, Volume 18, Issue 2, 30 May 2006, Pages 141–153, https://doi. |
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This article argues that the so-called Charge from Psychology does not refute the project of defining art. The charge entails that the project is misguided because it falsely presupposes that the concept of art is classically structured. The charge is challenged by distinguishing philosophers’ normative from psychologists’ descriptive aims. Unlike what many philosophers of art themselves believe, defining art is a normative project, since proposed definitions formulate conditions under which the concept of art should be applied, rather than is applied. (...) |
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The purpose of this research is to show the relevance of the notion of 'skepticism' for the philosophy of art. From Modernism on, art is plagued by a lack of confidence in the traditional conventions and by an instability of the criteria governing the membership of an object to the category of 'art'. The notion of 'skepticism' is linked to the concept of 'expression': if art faces a form of skepticism, then the emphasis on the personal expression of artists and (...) |
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What Israel Scheffler analyzed in his The Language of Education was a corpus of slogans and metaphors which obviously influence public communication. But are these a language of “education”? The article argues that “language of education” is a historical enterprise that constitutes a special public discourse on and about education. The writings of the eminent educators developed and reflected this discourse, the language of education is composed out of typical arguments and suggestions not just of slogans and metaphors. And this (...) |
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Michael Naish; Education and Essential Contestability Revisited, Journal of Philosophy of Education, Volume 18, Issue 2, 30 May 2006, Pages 141–153, https://doi. |
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