By Robert Stecker
Publish 12 months note: First released February twenty fifth 2005
Praised in its unique variation for its updated, rigorous presentation of present debates and for the readability of its presentation, Robert Stecker's new version of Aesthetics and the Philosophy of artwork preserves the key topics and conclusions of the unique, whereas increasing its content material, supplying new positive aspects, and embellishing accessibility. Stecker introduces scholars to the background and evolution of aesthetics, and in addition makes a tremendous contrast among aesthetics and philosophy of artwork. whereas aesthetics is the examine of worth, philosophy of artwork offers with a wider array of questions together with concerns in metaphysics, epistemology, the philosophy of brain, in addition worth idea. defined as a "remarkably unified creation to many modern debates in aesthetics and the philosophy of art," Stecker focuses on sympathetically laying endure the play of argument that emerges as competing perspectives on a subject interact one another. This ebook doesn't easily current an argument in its present nation of play, yet in its place demonstrates a philosophical brain at paintings aiding to develop the problem towards an answer.
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Extra info for Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy)
This suggests that these other kinds of performative unhappiness may (in Austin’s view) appear not only to be generically infelicitous, but also specifically misfires rather than abuses; and hence it suggests that Austin aspires to distinguish excuses in particular from the kind of infelicity in which the act does not come off at all (as opposed to those in which it does). (ii) But when the doctrine of etiolations is in specific focus Austin is to be found invoking hollowness as well as the void; where the latter term is ubiquitous, the former – once introduced and explained – appears in no other context in this lecture.
In the next chapter, ‘Wittgenstein, Verbal Creativity and the Expansion of Artistic Style’, Garry Hagberg takes up another common misreading of Wittgenstein on the creativity of language, according to that on Wittgenstein’s conception of language we as language-users are trapped within existing language-games without any opportunity for linguistic creativity. This is once again the charge of linguistic The Good, the Bad and the Creative 17 conservatism, which is discussed in several places throughout this volume.
But, as Cavell goes on to explain, such accusations are merely symptomatic of a failure to understand Wittgenstein’s special attitude towards language in philosophy, in particular that Wittgenstein’s reflections on language entail no linguistic conservatism in the first place (as already argued in Section I above). Nor were Wittgenstein’s grammatical investigations meant to secure any kind of moral, social, cultural or political status quo. 82) One classic example of someone who accused Wittgenstein (as well as other authors counted amongst the so-called ordinary language philosophers) of such a far-reaching conservatism is Ernest Gellner.
Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy) by Robert Stecker