In his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory. The substantial Introduction is Hegel's best exposition of his general philosophy of art, and provides the ideal way into (...) his Aesthetics. In Part I he considers the general nature of art: he distinguishes art, as a spiritual experience, from religion and philosophy; he discusses the beauty of art and differentiates it from the beauty of nature; and he examines artistic genius and originality. Part II provides a sort of history of art, divded into three periods called Symbolic, Classical, and Romantic. Part III deals individually with architecture, scuplture, painting, music, and literature. (shrink)

_Ideology and Utopia_ argues that ideologies are mental fictions whose function is to veil the true nature of a given society. They originate unconsciously in the minds of those who seek to stabilise a social order. Utopias are wish dreams that inspire the collective action of opposition groups which aim at the entire transformation of society. Mannheim shows these two opposing elements to dominate not only our social thought but even unexpectedly to penetrate into the most scientific theories in philosophy, (...) history and the social sciences. This new edition contains a new preface by Bryan S. Turner which describes Mannheim's work and critically assesses its relevance to modern sociology. The book is published with a comprehensive bibliography of Mannheim's major works. (shrink)

The sociological dimension of science is studied using the discovery of the Wasserman reaction and its accidental application as a test for syphilis as a basis, ...

Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book (...) distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account 0f artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument. (shrink)

Hegel wrote this classic as an introduction to a series of lectures on the "philosophy of history"--a novel concept in the early 19th century. With this work, he created the history of philosophy as a scientific study. He reveals philosophical theory as neither an accident nor an artificial construct, but as an exemplar of its age, fashioned by its antecedents and contemporary circumstances, and serving as a model for the future. The author himself appears to have regarded this book a (...) popular introduction to his philosophy as a whole, and it remains the most readable and accessible of all his philosophical writings. Translation by J. Sibree. (shrink)

Because of the difficulty posed by the contrast between the search for truth and truth itself, Michael Polanyi believes that we must alter the foundation of epistemology to include as essential to the very nature of mind, the kind of groping that constitutes the recognition of a problem. This collection of essays, assembled by Marjorie Grene, exemplifies the development of Polanyi's theory of knowledge which was first presented in Science, Faith, and Society and later systematized in Personal Knowledge. Polanyi believes (...) that the dilemma of the modern mind arises from the peculiar relation between the positivist claim for total objectivity in scientific knowledge and the unprecedented moral dynamism characterizing the social and political aspirations of the last century. The first part of Knowing and Being deals with this theme. Part two develops Polanyi's idea that centralization is incompatible with the life of science as well as his views on the role of tradition and authority in science. The essays on tacit knowing in Part Three proceed directly from his preoccupation with the nature of scientific discovery and reveal a pervasive substructure of all intelligent behavior. Polanyi believes that all knowing involves movement from internal clues to external evidence. Therefore, to explain the process of knowing, we must develop a theory of the nature of living things in general, including an account of that aspect of living things we call "mind." Part Four elaborates upon this theme. (shrink)

Discusses the social aspects of art, popular culture as art, galleries, museums, and the meaning of art.

Obviously, subject is what is said, style is how. A little less obviously, that formula is full of faults. Architecture and nonobjective painting and most of music have no subject. Their style cannot be a matter of how they say something, for they do not literally say anything; they do other things, they mean in other ways. Although most literary works say something, they usually do other things, too; and some of the ways they do some of these things are (...) aspects of style. Moreover, the what of one sort of doing may be part of the how of another. Indeed, even where the only function in question is saying, we shall have to recognize that some notable features of style are features of the matter rather than the manner of the saying. In more ways than one, subject is involved in style. For this and other reasons, I cannot subscribe to the received opinion that style depends upon an artist's conscious choice among alternatives. And I think we shall also have to recognize that not all differences in ways of writing or painting or composing or performing are differences in style. Nelson Goodman, professor of philosophy at Harvard University, has written The Structure of Appearance; Fact, Fiction and Forecast; Languages of Art: An Approach to a Theory of Symbols; Problems and Projects; and numerous articles. Logic and Art: Essays in Honor of Nelson Goodman was published in 1972. His contributions to Critical Inquiry include "Metaphor as Moonlighting" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)