[ Pobierz całość w formacie PDF ]
.Thisclaim is influenced by Crispin Wright, Truth and Objectivity, Cambridge, Mass., HarvardUniversity Press, 1992.Wright says that if realism about some matter is correct, thenstatements about the matter possess cognitive command.When a class of statementspossesses cognitive command, and people disagree about the truth values of statements inthe class, someone is in error.172 NOTESCRITERIA OF EVALUATIONWhen I refer to Pope, I have in mind The Essay on Criticism, l.298.WHAT IS AVANT-GARDE ART?When it comes to the evaluation of avant-garde art, I find a kindred spirit in DerekMatravers.See his Why Some Modern Art is Junk , Cogito, 1994, vol.8, 19 25.EXEMPLIFICATION AND AVANT-GARDE ARTFor a good discussion of constructivism and its use of exemplification, see DavidHerwitz, Making Theory/Constructing Art, Chicago, University of Chicago Press, 1993,chs 2 and 3.THE SEMANTICS OF AVANT-GARDE ARTFor Kandinsky s writings on painting, see Kenneth C.Lindsay and Peter Vergo (eds)Complete Writings on Art, London, Faber and Faber, 1982. The Language of Colors andForms is the title of section 6 of On the Spiritual in Art (vol.2, p.161).In Point and Lineto Plane, Kandinsky states that the new science of art can only come about provided thatsigns become symbols (vol.2, p.540).He seems to mean by this that pictorial elementsshould have a fixed significance.Herwitz provides a good discussion of the relationship between avant-garde artworksand discourses.(He does not, however, believe that the dependence of an artwork on adiscourse is a failing.) Herwitz holds that avant-garde works often serve and provideexamples of theories (or, in my terminology, discourses).He writes, for example, thatMondrian s [w]ords are required to get the audience to take the sermon in the art.MakingTheory/Constructing Art, p.108.The passage by Newman is quoted in Thomas B.Hess, Barnett Newman, New York,Walker, 1969, p.55.For a reproduction of Baldessari s Everything Is Purged.see LucyR.Lippard, Six Years: The dematerialization of the art object from 1966 to 1972, NewYork, Prager, 1973, p.58.For information on the Guerilla Girls, see Susan Tallman, Guerilla Girls , Arts Magazine, 1991, vol.65, no.8, 21 2.BUT IS IT ART?For Halley s views on art and emotion, see Matthew Collings, It Hurts: New York art fromWarhol to now, London, 21 Publishing, 1998, p.158.DESTROYING WORKS OF AVANT-GARDE ARTThis section draws upon material from my Destroying Works of Art , Journal ofAesthetics and Art Criticism, 1989, vol.47, 367 73.ENVOYThe passage from Joseph Addison is found in his remarks on Pope s Essay on Criticism,first published in The Spectator, No.253.The remark of Sir Joshua Reynolds is found inhis Fifteen Discourses Delivered in the Royal Academy, London, J.M.Dent, n.d, p.104.173 BIBLIOGRAPHYAddis, Larry, Of Mind and Music, Ithaca, N.Y., Cornell University Press, 1999.Beardsley, Monroe C., Aesthetics, New York, Harcourt, Brace and Co., 1958 (chs 8 and 9).Beardsmore, R.W., Learning from a Novel , Royal Institute of Philosophy Lectures, 1973,vol.6, 23 46.Bender, John W., Art as a Source of Knowledge: Linking analytic aesthetics andepistemology , in John W.Bender and H.Gene Blocker (eds) ContemporaryPhilosophy of Art, Englewood Cliffs, N.J., Prentice Hall, 1993.Carroll, Noël, Moderate Moralism , British Journal of Aesthetics, 1996, vol.36, 223 38. , Art, narrative, and moral understanding , in Jerrold Levinson (ed.) Aesthetics andethics: Essays at the intersection, Cambridge: Cambridge University Press, 1998. , Art and Ethical Criticism: An overview of recent directions in research , Ethics,2000, vol.110, 350 87.Collingwood, R.G., The Principles of Art, Oxford, Clarendon Press, 1938.Currie, Gregory, Realism of Character and Value of Fiction , in Jerrold Levinson (ed.)Aesthetics and ethics: Essays at the intersection, Cambridge, Cambridge UniversityPress, 1998.Davenport, Edward A., Literature as Thought Experiment (On Aiding and Abetting theMuse) , Philosophy of Social Sciences, 1983, vol.13, 279 306.Day, John Patrick, Artistic Verisimilitude (I) , Dialogue, 1962, vol.1, 163 87. , Artistic Verisimilitude (II) , Dialogue, 1962, vol.1, 278 304.Depaul, Michael R., Argument and Perception: The role of literature in moral inquiry ,Journal of Philosophy, 1988, vol.85, 552 65.Diffey, T.J [ Pobierz caÅ‚ość w formacie PDF ]
zanotowane.pl doc.pisz.pl pdf.pisz.pl centka.pev.pl
.Thisclaim is influenced by Crispin Wright, Truth and Objectivity, Cambridge, Mass., HarvardUniversity Press, 1992.Wright says that if realism about some matter is correct, thenstatements about the matter possess cognitive command.When a class of statementspossesses cognitive command, and people disagree about the truth values of statements inthe class, someone is in error.172 NOTESCRITERIA OF EVALUATIONWhen I refer to Pope, I have in mind The Essay on Criticism, l.298.WHAT IS AVANT-GARDE ART?When it comes to the evaluation of avant-garde art, I find a kindred spirit in DerekMatravers.See his Why Some Modern Art is Junk , Cogito, 1994, vol.8, 19 25.EXEMPLIFICATION AND AVANT-GARDE ARTFor a good discussion of constructivism and its use of exemplification, see DavidHerwitz, Making Theory/Constructing Art, Chicago, University of Chicago Press, 1993,chs 2 and 3.THE SEMANTICS OF AVANT-GARDE ARTFor Kandinsky s writings on painting, see Kenneth C.Lindsay and Peter Vergo (eds)Complete Writings on Art, London, Faber and Faber, 1982. The Language of Colors andForms is the title of section 6 of On the Spiritual in Art (vol.2, p.161).In Point and Lineto Plane, Kandinsky states that the new science of art can only come about provided thatsigns become symbols (vol.2, p.540).He seems to mean by this that pictorial elementsshould have a fixed significance.Herwitz provides a good discussion of the relationship between avant-garde artworksand discourses.(He does not, however, believe that the dependence of an artwork on adiscourse is a failing.) Herwitz holds that avant-garde works often serve and provideexamples of theories (or, in my terminology, discourses).He writes, for example, thatMondrian s [w]ords are required to get the audience to take the sermon in the art.MakingTheory/Constructing Art, p.108.The passage by Newman is quoted in Thomas B.Hess, Barnett Newman, New York,Walker, 1969, p.55.For a reproduction of Baldessari s Everything Is Purged.see LucyR.Lippard, Six Years: The dematerialization of the art object from 1966 to 1972, NewYork, Prager, 1973, p.58.For information on the Guerilla Girls, see Susan Tallman, Guerilla Girls , Arts Magazine, 1991, vol.65, no.8, 21 2.BUT IS IT ART?For Halley s views on art and emotion, see Matthew Collings, It Hurts: New York art fromWarhol to now, London, 21 Publishing, 1998, p.158.DESTROYING WORKS OF AVANT-GARDE ARTThis section draws upon material from my Destroying Works of Art , Journal ofAesthetics and Art Criticism, 1989, vol.47, 367 73.ENVOYThe passage from Joseph Addison is found in his remarks on Pope s Essay on Criticism,first published in The Spectator, No.253.The remark of Sir Joshua Reynolds is found inhis Fifteen Discourses Delivered in the Royal Academy, London, J.M.Dent, n.d, p.104.173 BIBLIOGRAPHYAddis, Larry, Of Mind and Music, Ithaca, N.Y., Cornell University Press, 1999.Beardsley, Monroe C., Aesthetics, New York, Harcourt, Brace and Co., 1958 (chs 8 and 9).Beardsmore, R.W., Learning from a Novel , Royal Institute of Philosophy Lectures, 1973,vol.6, 23 46.Bender, John W., Art as a Source of Knowledge: Linking analytic aesthetics andepistemology , in John W.Bender and H.Gene Blocker (eds) ContemporaryPhilosophy of Art, Englewood Cliffs, N.J., Prentice Hall, 1993.Carroll, Noël, Moderate Moralism , British Journal of Aesthetics, 1996, vol.36, 223 38. , Art, narrative, and moral understanding , in Jerrold Levinson (ed.) Aesthetics andethics: Essays at the intersection, Cambridge: Cambridge University Press, 1998. , Art and Ethical Criticism: An overview of recent directions in research , Ethics,2000, vol.110, 350 87.Collingwood, R.G., The Principles of Art, Oxford, Clarendon Press, 1938.Currie, Gregory, Realism of Character and Value of Fiction , in Jerrold Levinson (ed.)Aesthetics and ethics: Essays at the intersection, Cambridge, Cambridge UniversityPress, 1998.Davenport, Edward A., Literature as Thought Experiment (On Aiding and Abetting theMuse) , Philosophy of Social Sciences, 1983, vol.13, 279 306.Day, John Patrick, Artistic Verisimilitude (I) , Dialogue, 1962, vol.1, 163 87. , Artistic Verisimilitude (II) , Dialogue, 1962, vol.1, 278 304.Depaul, Michael R., Argument and Perception: The role of literature in moral inquiry ,Journal of Philosophy, 1988, vol.85, 552 65.Diffey, T.J [ Pobierz caÅ‚ość w formacie PDF ]