Results for 'Danto'

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  1. The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge.Stephen Snyder - 2015 - CounterText 1 (3).
    Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role (...)
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  2. Dal mondo dell'arte al regno delle ombre (e ritorno). Arthur Danto, Maya Lin e la bellezza interna.Filippo Fimiani - 2010 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 3 (2).
    Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington embodies the rhetoric paradigm of internal beauty’s meaning. However, the relationship to the Kant’s pulchritudo adhaerens is not an easy one: Danto’s recalls against the self-referent formalism of Greenberg’s Modernism and his tacit issues about the environmental non-monumentality of Richard Serra’s Minimalism, are, most importantly, haunted by the unquestioned spectral logic of the image embodiment. The beholders’ reflecting shape on the funeral Wall is, finally, both a pathetic (...)
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  3. Rewolucja w nauce i sztuce T.S. Danto.Leszek Sosnowski - forthcoming - Estetyka I Krytyka 9 (9/10):224-242.
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  4. Estetyka a Granice Języka. Ludwig Wittgenstein I Arthur C. Danto.Karolina Glazor-Pomykała - 2016 - Argument: Biannual Philosophical Journal 6 (2):455-476.
    The article is an attempt to pinpoint the areas of Ludwig Wittgenstein aesthetic thought, in which he is crossing the borders principally imposed upon the method and the language of his philosophy. I am directing my attention to metaphysical and mystical motifs of his reflection devoted to aesthetics, the essence of art and the essence of reality. I wish to discuss this issue based on the texts of Arthur C. Danto containing analysis of chosen notions of Wittgenstein’s aesthetic investigations. (...)
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  5. Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn.Stephen Snyder - 2010 - Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he (...)
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  6.  64
    Machine Art or Machine Artists? Dennett, Danto, and the Expressive Stance.Adam Linson - 2016 - In Vincent Müller (ed.), Fundamental Issues of Artificial Intelligence (Synthese Library). Berlin: Springer. pp. 441-456.
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  7. Surface and Deep Interpretation.Peg Brand & Myles Brand - 2012 - In Mark Rollins (ed.), Danto and His Critics, 2nd Edition. Wiley-Blackwell. pp. 69-83.
    Arthur C. Danto proposes a complex and controversial relationship between surface and deep interpretations in The Philosophical Disenfranchisement of Art (1986). We detail the analogy between understanding human actions and interpreting works of art that both develops a motivation for Danto's view and clarifies it. We object to the most plausible version of content dependency among surface and deep interpretations and in so doing, we also clarify the way in which an interpretation is constitutive of an artwork.
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  8.  13
    É Possível Definir Arte? - As Abordagens de Weitz e Danto ao Projeto Definitório.Fernanda Azevedo Silva - 2019 - Dissertation, UFG, Brazil
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  9. The Pasts.Paul A. Roth - 2012 - History and Theory 51 (3):313-339.
    ABSTRACTThis essay offers a reconfiguration of the possibility‐space of positions regarding the metaphysics and epistemology associated with historical knowledge. A tradition within analytic philosophy from Danto to Dummett attempts to answer questions about the reality of the past on the basis of two shared assumptions. The first takes individual statements as the relevant unit of semantic and philosophical analysis. The second presumes that variants of realism and antirealism about the past exhaust the metaphysical options . This essay argues that (...)
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  10.  7
    The End Of Art Revisited: A Response To Kalle Puolakka.Hans Maes - 2005 - Postgraduate Journal of Aesthetics 2 (3).
    In ‘The End of Art: A Real Problem or Not Really a Problem?’ I raised some questions about Arthur Danto’s famous ‘end of art’ thesis. A largely polemical paper, it was intended as an invitation to further discussion, and Kalle Puolakka has now taken up this invitation in ‘Playing The Game After The End of Art’. I thank him for his many insightful remarks. Critical comments are typically more interesting and helpful than simple praise, and Puolakka’s comments are no (...)
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  11. Glaring Omissions in Traditional Theories of Art.Peg Zeglin Brand Weiser - 2003 - In Steven Cahn (ed.), Philosophy for the 21st Century: A Comprehensive Reader. Oxford University Press. pp. 779-813.
    I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything (...)
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  12. Surface Interpretation: Reply to Leddy.Peg Zeglin Brand & Myles Brand - 1999 - Journal of Aesthetics and Art Criticism 57 (4):463-465.
    In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.
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  13.  30
    Por una estética apegada a la vida.José Ramón Fabelo Corzo - 2010 - Revista de Filosofía (Venezuela) 66 (3):89-100.
    Los actuales procesos de estetización del mundo de la vida y de transformación de objetos cotidianos en obras de arte tienden a ser interpretados teóricamente como una difuminación de las fronteras entre arte y vida. Cualquier cosa puede ser arte -afirma Arthur C. Danto, uno de los más reconocidos filósofos del arte de la actualidad-, pero ¿lo puede ser en realidad? Este ensayo se cuestiona esa afirmación basado en los límites axiológicos de la misma.
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  14. Michael Kelly. Iconoclasm in Aesthetics.Stephen Snyder - 2006 - Modern Schoolman 83 (3):249-254.
    This is a review of Michael Kelly's _Iconoclasm in Aesthetics_.
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  15. Honest Illusion: Valuing for Nietzsche's Free Spirits.Nadeem J. Z. Hussain - 2007 - In Brian Leiter & Neil Sinhababu (eds.), Nietzsche and Morality. Oxford University Press.
    There is a widespread, popular view—and one I basically endorse—that Nietzsche is, in one sense of the word, a nihilist. As Arthur Danto put it some time ago, according to Nietzsche, “there is nothing in [the world] which might sensibly be supposed to have value.” As interpreters of Nietzsche, though, we cannot simply stop here. Nietzsche's higher men, Übermenschen, “genuine philosophers”, free spirits—the types Nietzsche wants to bring forth from the human, all-too-human herds he sees around him with the (...)
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  16. Disgust’s Transparency.Filippo Contesi - 2016 - British Journal of Aesthetics 56 (4):347-354.
    The transparency thesis for disgust claims that what is disgusting in nature is always also disgusting in art. Versions of the thesis have been endorsed by, among others, Kant, Lessing, Mendelssohn, and, more recently, Arthur Danto, Carolyn Korsmeyer, and Jenefer Robinson. The present paper articulates and discusses different readings of the thesis. It concludes that the transparency thesis is false.
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  17.  73
    Feminism and Tradition in Aesthetics "Introduction".Carolyn Korsmeyer (ed.) - 1995 - Pennsylvania State University Press.
    Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...)
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  18. Mundo del arte y ontología del arte.Paulo Velez Leon - 2015 - Analysis. Documentos de Investigación 18 (1):1-18.
    [ES] En este trabajo, ofreceré una reconstrucción sucinta de los argumentos sobre el significado de la noción de mundo del arte, así como de sus implicaciones en la ontología del arte. En primer lugar, describiré de manera esquemática los principios básicos de la noción de mundo del arte de Danto, y a partir de estos principios delinearé su influencia en la teoría institucional del arte de George Dickie. Sobre esta base, apoyado en la crítica al rol de la teoría (...)
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  19.  15
    Directions For A New Aestheticism.Jeffrey Petts - 2005 - Postgraduate Journal of Aesthetics 2 (1):20-31.
    The idea of a new aestheticism is now explicit in both philosophical aesthetics and cultural theory with the publication of Gary Iseminger's The Aesthetic Function of Art and an anthology of essays edited by John Joughin and Simon Malpas critiquing the anti-aestheticism of literary theory. Both are significant in marking a wider trend reacting to, broadly speaking, intellectualised and historicised accounts of art, refocusing on the idea of appreciation itself, and working away from the emphasis on ideology and disregard for (...)
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  20.  14
    Playing The Game After The End Of Art: Comments For Hans Maes.Kalle Puolakka - 2005 - Postgraduate Journal of Aesthetics 2 (1):12-19.
    In his philosophy of art history, Arthur C. Danto claims that in the 1960 ́s the master narrative of art had come to an end, and that we had reached the end of art. This conception has been widely considered, but also misunderstood. Hans Maes has recently discussed Danto's conception of the end of art in his article, where he clears some misconceptions about the thesis, but at the same time challenges Danto's analysis of contemporary art.
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  21.  13
    The End Of Art: A Real Problem Or Not Really A Problem?Hans Maes - 2004 - Postgraduate Journal of Aesthetics 1 (2):59-68.
    In 1984, Arthur Danto wrote an article with the telling title ‘The End of Art.’ Just a few years earlier, Richard Rorty had declared the end of philosophy and Michel Foucault, the end of politics. A few years later, Francis Fukuyama was to declare the end of history. So, on the face of it, Danto’s thesis fits in nicely with the ‘endism’ that was popular in the 1980s. In important ways, however, I believe it also stands out.
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  22.  98
    THE END OF ART AND PATOČKA's PHILOSOPHY OF ART.Josl Jan - 2016 - HORIZON. Studies in Phenomenology 1 (1):232-246.
    In this essay I consider the end-of-art thesis in its metaphysical and empirical versions. I show that both use the correspondence theory of truth as the basis for their conception of the history of art. As a counterpart to these theories I have chosen Patočka’s conception of the history of art. His theory is based also on the relationship between art and truth, but he conceives truth in the phenomenological sense of manifestation. In the rest of the essay I seek (...)
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  23.  30
    Anti-mémoires. Noms, reflets et écritures.Filippo Fimiani - 2016 - IMAGES RE-VUES 5:1-32.
    Arthur Danto asserts that Maya Lin’s Vietnam Veterans Memorial in Washington really embodies the beauty of his meaning. For him, the Memorial’s “internal beauty” is felt and read because she is built as a text by the rhetoric of enthymeme, as a syllogism based on some tacit knowledges and highly probables communplaces. However, the relationship to the Kant’s pulchritudo adhaerens and philosophy of architecture is not an easy one : Danto rejects as unreadable the self-referent formalism of Greenberg’s (...)
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  24. Internal Beauty.Jonathan Gilmore - unknown
    In the title essay of The Philosophical Disenfranchisement of Art Arthur Danto describes two dominant strains of the philosophy of art in its Platonic beginnings: one that art is dangerous, and thus subject to political censorship or control, and the other that art exists at several removes from the ordinary reality, impotent to effect any meaningful change in the human world.1 These two ways of understanding art, really two charges laid at art’s door, seem contradictory, he writes, until one (...)
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  25. Beauty Matters.Peg Zeglin Brand - 2000 - Indiana University Press.
    Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...)
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  26. Feminism and Tradition in Aesthetics.Peg Zeglin Brand Weiser & Carolyn Korsmeyer (eds.) - 1995 - Pennsylvania State University Press.
    Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...)
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  27.  44
    Phänomenologie und Sprachanalyse.Geert Keil & Udo Tietz (eds.) - 2006 - mentis.
    Phänomenologie und sprachanalytische Philosophie, die erstere mit den Namen Husserl und Heidegger verbunden, die letztere mit Wittgenstein, waren die beiden dominierenden philosophischen Strömungen des 20. Jahrhunderts. Das Spannungsverhältnis zwischen Phänomenologie und Sprachanalyse ergibt sich auf dem Hintergrund ihrer gemeinsamen Problembestände, vornehmlich in der Philosophie des Geistes, der Philosophie der Wahrnehmung und der Bedeutungstheorie. Konvergenzen sind erst im letzten Drittel des Jahrhunderts sichtbar geworden, wobei die Rezeption phänomenologischen Gedankenguts durch analytische Philosophen (Chisholm, Searle, Føllesdal, Danto, Evans, Tugendhat) intensiver war als (...)
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  28.  6
    Individual Style After The End Of Art.Regina Wenninger - 2005 - Postgraduate Journal of Aesthetics 2 (3):105-115.
    In The Transfiguration of the Commonplace (1981)1 Arthur Danto construes individual style as something “given” that belongs to the artist “essentially” and “inseparably.” By contrast, his theory of the end of art, set forth in After the End of Art (1997) and elsewhere,2 suggests the liberation of artists from any stylistic commitments. How do these two theories go together? Can there be individual styles after the end of art? Examining the compatibility between Danto’s end of art thesis and (...)
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  29.  32
    ESTHÉTIQUE DE L'ARTEFACT EXTATIQUE. Art et design.Allen Alain Viguier - 2013 - France: Hotel des Bains Editions.
    Cet essai propose une esthétique contextualiste de l'œuvre d'art dont le paradigme est rapporté à l'artefact de design. Présenté en deux livres, il maintient la spécificité de chacun des deux domaines tout en rendant compte de leurs échanges incessants depuis le début des avant-gardes historiques. Le premier livre débute par l'examen de neuf monochromes rouges imaginés par Arthur Danto et fait appel à l'esthétique institutionnelle de Howard Becker pour les placer dans le contexte des pratiques curatoriales et du "monde (...)
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