By Jerrold Levinson
Contemplating Art is a compendium of writings from the final ten years by means of one of many top figures in aesthetics, Jerrold Levinson. The twenty-four essays variety over matters commonly aesthetics and people with regards to particular arts--in specific tune, movie, and literature. it's going to allure not just to philosophers but additionally to musicologists, literary theorists, artwork critics, and reflective fanatics of the humanities.
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Additional info for Contemplating Art: Essays in Aesthetics
24 Art actual path of art history. So far as I can see the intentional-historical theory of arthood is not committed to the claim that our present, minimalist and intentionalist, concept of art would have been different if actual art history had been different. I want to say that the concept of art with which we presently operate, if historical in the way I have in mind, is not different in different possible worlds. It is rather, in any world, the concept of an object-identifying practice where what can count as art at t depends on what, contingently, already counts as art prior to t.
Suppose for the moment that Bloom is right, and that an analysis of the sort that captures what it is to be an artwork also captures what it is to be an artifact of any sort. What, if anything, would remain of the special historicality of the concept of artwork, as opposed to those of chair, pencil, house, or other standard artifacts? Two things, it seems. First, on Bloom’s analysis something is an X in virtue of being intentionally related in the right way to preceding X’s generally. But on the intentional-historical analysis of arthood, something can be an artwork through being intentionally connected in the right manner to a particular past artwork or artworks, whether or not intentionally connected to past art invoked generally.
4) How can we make sense of the interest that many appreciators have in experiencing empathetically art that is expressive of negative emotions? ) (5) Is there a conﬂict between responding emotionally to art and what the aesthetic appreciation of art demands? Answers to these questions depend, to some extent, on the conception of emotion adopted. ¹ With that as background, various answers to the above questions will be critically reviewed. I T HE NATURE OF EMOTIONS In order to fruitfully assess the varieties of emotional response to art it is obviously of use to have some account of what exactly emotions—in the occurrent, as opposed to dispositional, sense—are.