{"product_id":"aesthetics-and-the-philosophy-of-art-isbn-9781119222446","title":"Aesthetics and the Philosophy of Art","description":"\u003cp\u003eFor over fifty years, philosophers working within the broader remit of analytic philosophy have developed and refined a substantial body of work in aesthetics and the philosophy of art, curating a core foundation of scholarship which offers rigor and clarity on matters of profound and perennial interest relating to art and all forms of aesthetic appreciation. Now in its second edition and thoroughly revised, \u003ci\u003eAesthetics and the Philosophy of Art—The Analytic Tradition: An Anthology\u003c\/i\u003e captures this legacy in a comprehensive introduction to the core philosophical questions and conversations in aesthetics. \u003c\/p\u003e \u003cp\u003eThrough 57 key essays selected by leading scholars Peter Lamarque and Stein Haugom Olsen, this anthology collects modern classics as well as new contributions on essential topics such as the identification and ontology of art, interpretation, values of art, art and knowledge, and fiction and the imagination. New to this edition are selections which treat aesthetic experience more widely, including essays on the aesthetics of nature and aesthetics in everyday life. Other carefully-chosen pieces analyze the practice and experience of specific art forms in greater detail, including painting, photography, film, literature, music, and popular art such as comics.\u003c\/p\u003e \u003cp\u003eThis bestselling collection is an essential resource for students and scholars of aesthetics, designed to foster a foundational understanding of both long-standing and contemporary topics in the field.\u003c\/p\u003e \u003cp\u003eAcknowledgments x\u003c\/p\u003e \u003cp\u003eExtracts from the General Introduction to the First Edition (2004) xiii\u003c\/p\u003e \u003cp\u003eGeneral Introduction to the Second Edition xvii\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I Identifying Art 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 3\u003c\/p\u003e \u003cp\u003e1 The Artworld 7\u003cbr\u003e\u003ci\u003eArthur C. Danto\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e2 The New Institutional Theory of Art 15\u003cbr\u003e\u003ci\u003eGeorge Dickie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3 An Aesthetic Definition of Art 22\u003cbr\u003e\u003ci\u003eMonroe C. Beardsley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4 “But They Don’t Have Our Concept of Art” 30\u003cbr\u003e\u003ci\u003eDenis Dutton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5 Nobody Needs a Theory of Art 43\u003cbr\u003e\u003ci\u003eDominic McIver Lopes\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6 Art: What it Is and Why it Matters 54\u003cbr\u003e\u003ci\u003eCatharine Abell\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Ontology of Art 67\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 69\u003c\/p\u003e \u003cp\u003e7 What a Musical Work Is 71\u003cbr\u003e\u003ci\u003eJerrold Levinson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8 Defending Musical Platonism 84\u003cbr\u003e\u003ci\u003eJulian Dodd\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9 Against Musical Ontology 98\u003cbr\u003e\u003ci\u003eAaron Ridley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10 The Ontology of Art and Knowledge in Aesthetics 108\u003cbr\u003e\u003ci\u003eAmie L. Thomasson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Aesthetic Properties and Aesthetic Experience 117\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 119\u003c\/p\u003e \u003cp\u003e11 Aesthetic Concepts 121\u003cbr\u003e\u003ci\u003eFrank Sibley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12 Categories of Art 134\u003cbr\u003e\u003ci\u003eKendall L. Walton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13 In Defence of Moderate Aesthetic Formalism 149\u003cbr\u003e\u003ci\u003eNick Zangwill\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14 How to Be a Pessimist about Aesthetic Testimony 159\u003cbr\u003e\u003ci\u003eRobert Hopkins\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15 Recent Approaches to Aesthetic Experience 170\u003cbr\u003e\u003ci\u003eNoël Carroll\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Intention and Interpretation 183\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 185\u003c\/p\u003e \u003cp\u003e16 Intentions and Interpretations: A Fallacy Revived 187\u003cbr\u003e\u003ci\u003eMonroe C. Beardsley\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17 The Literary Work as a Pliable Entity: Combining Realism and Pluralism 197\u003cbr\u003e\u003ci\u003eTorsten Pettersson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e18 Authors’ Intentions, Literary Interpretation, and Literary Value 208\u003cbr\u003e\u003ci\u003eStephen Davies\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V Values of Art 223\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 225\u003c\/p\u003e \u003cp\u003e19 Originals, Copies, and Aesthetic Value 229\u003cbr\u003e\u003ci\u003eJack W. Meiland\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20 Artistic Value 236\u003cbr\u003e\u003ci\u003eMalcolm Budd\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e21 The Ethical Criticism of Art 247\u003cbr\u003e\u003ci\u003eBerys Gaut\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22 Artistic Value and Opportunistic Moralism 258\u003cbr\u003e\u003ci\u003eEileen John\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23 What’s Wrong with the (Female) Nude? A Feminist Perspective on Art and Pornography 266\u003cbr\u003e\u003ci\u003eA.W. Eaton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI Art and Knowledge 283\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 285\u003c\/p\u003e \u003cp\u003e24 On the Cognitive Triviality of Art 289\u003cbr\u003e\u003ci\u003eJerome Stolnitz\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e25 Art and Moral Knowledge 295\u003cbr\u003e\u003ci\u003eCynthia A. Freeland\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26 Reading Fiction and Conceptual Knowledge: Philosophical Thought in Literary Context 310\u003cbr\u003e\u003ci\u003eEileen John\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e27 Cognitive Values in the Arts: Marking the Boundaries 326\u003cbr\u003e\u003ci\u003ePeter Lamarque\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VII Fictionality and Imagination 337\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 339\u003c\/p\u003e \u003cp\u003e28 Fearing Fictions 343\u003cbr\u003e\u003ci\u003eKendall L. Walton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e29 The Logical Status of Fictional Discourse 355\u003cbr\u003e\u003ci\u003eJohn Searle\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e30 The Expression of Feeling in Imagination 363\u003cbr\u003e\u003ci\u003eRichard Moran\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e31 The Puzzle of Imaginative Resistance 378\u003cbr\u003e\u003ci\u003eTamar Szabó Gendler\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e32 Anne Brontë and the Uses of Imagination 393\u003cbr\u003e\u003ci\u003eGregory Currie\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e33 Fiction as a Genre 402\u003cbr\u003e\u003ci\u003eStacie Friend\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VIII Pictorial Art 417\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 419\u003c\/p\u003e \u003cp\u003e34 On Pictorial Representation 421\u003cbr\u003e\u003ci\u003eRichard Wollheim\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e35 Pictorial Realism 431\u003cbr\u003e\u003ci\u003eCatharine Abell\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e36 Telling Pictures: The Place of Narrative in Late Modern ‘Visual Art’ 441\u003cbr\u003e\u003ci\u003eDavid Davies\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IX Photography and Film 451\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 453\u003c\/p\u003e \u003cp\u003e37 Photography and Representation 457\u003cbr\u003e\u003ci\u003eRoger Scruton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e38 Photography and Causation: Responding to Scruton’s Scepticism 472\u003cbr\u003e\u003ci\u003eDawn M. Phillips\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e39 Cinematic Art 483\u003cbr\u003e\u003ci\u003eBerys Gaut\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e40 Theses on Cinema as Philosophy 496\u003cbr\u003e\u003ci\u003ePaisley Livingston\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e41 Narration in Motion 503\u003cbr\u003e\u003ci\u003eKatherine J. Thomson‐Jones\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart X Literature 511\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 513\u003c\/p\u003e \u003cp\u003e42 Style and Personality in the Literary Work 517\u003cbr\u003e\u003ci\u003eJenefer M. Robinson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e43 Literary Aesthetics and Literary Practice 527\u003cbr\u003e\u003ci\u003eStein Haugom Olsen\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e44 Fictional Characters and Literary Practices 537\u003cbr\u003e\u003ci\u003eAmie L. Thomasson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e45 The Elusiveness of Poetic Meaning 549\u003cbr\u003e\u003ci\u003ePeter Lamarque\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart XI Music 561\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 563\u003c\/p\u003e \u003cp\u003e46 The Profundity of Music 567\u003cbr\u003e\u003ci\u003ePeter Kivy\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e47 Against Emotion: Hanslick Was Right about Music 574\u003cbr\u003e\u003ci\u003eNick Zangwill\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e48 Listening with Emotion: How Our Emotions Help Us to Understand Music 583\u003cbr\u003e\u003ci\u003eJenefer Robinson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart XII Popular Arts 601\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction 603\u003c\/p\u003e \u003cp\u003e49 Defining Mass Art 607\u003cbr\u003e\u003ci\u003eNoël Carroll\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e50 Just a Song? Exploring the Aesthetics of Popular Song Performance 623\u003cbr\u003e\u003ci\u003eJeanette Bicknell\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e51 Comics as Literature? 632\u003cbr\u003e\u003ci\u003eAaron Meskin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e52 The Vice of Snobbery: Aesthetic Knowledge, Justification and Virtue in Art Appreciation 647\u003cbr\u003e\u003ci\u003eMatthew Kieran\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart XIII Aesthetics of Nature and Everyday Aesthetics 659\u003c\/b\u003e\u003c\/p\u003e Introduction 661 \u003cp\u003e53 Appreciation and the Natural Environment 665\u003cbr\u003e\u003ci\u003eAllen Carlson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e54 Scientific Knowledge and the Aesthetic Appreciation of Nature 673\u003cbr\u003e\u003ci\u003ePatricia Matthews\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e55 Aesthetic Character and Aesthetic Integrity in Environmental Conservation 684\u003cbr\u003e\u003ci\u003eEmily Brady\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e56 Everyday Aesthetics 695\u003cbr\u003e\u003ci\u003eYuriko Saito\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e57 The Pervasiveness of the Aesthetic in Ordinary Experience 700\u003cbr\u003e\u003ci\u003eSherri Irvin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIndex 710\u003c\/p\u003e  \u003cp\u003e\u003cb\u003ePETER LAMARQUE\u003c\/b\u003e is Professor of Philosophy at the University of York and was formerly editor of the \u003ci\u003eBritish Journal of Aesthetics\u003c\/i\u003e. His books include \u003ci\u003eFictional Points of View\u003c\/i\u003e (1996), \u003ci\u003eThe Philosophy of Literature\u003c\/i\u003e (2008), \u003ci\u003eWork and Object: Explorations in the Metaphysics of Art\u003c\/i\u003e (2010), and \u003ci\u003eThe Opacity of Narrative\u003c\/i\u003e (2014). \u003c\/p\u003e\u003cp\u003e\u003cb\u003eSTEIN HAUGOM OLSEN\u003c\/b\u003e is Professor of British Literature and Head of the Department of English Language and Literature at Bilkent University, Ankara. He was formerly the Pro-Rector of Østfold University College, Norway, and has held chairs in English, comparative literature, and philosophy at the universities of Oslo and Bergen and at Lingnan University, Hong Kong. His books include \u003ci\u003eThe Structure of Literary Understanding\u003c\/i\u003e (1978), \u003ci\u003eThe End of Literary Theory\u003c\/i\u003e (1987), and \u003ci\u003eTruth, Fiction, and Literature\u003c\/i\u003e (1994) (with Peter Lamarque).   \u003c\/p\u003e\u003cp\u003e\u003cb\u003ePraise for the First Edition\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003e\"A sparkling compilation of essential readings, balancing classics in analytic aesthetics with recent developments, all skilfully arranged to capture every reader's interests. An incomparable achievement.\" \u003cb\u003e\u003ci\u003eDominic McIver Lopes,\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e University of British Columbia\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e\"[T]hey have done a superb job of compiling the key texts in contemporary analytic aesthetics in a volume that is sure to remain the standard reader for a long time to come.\" \u003cb\u003e\u003ci\u003eAnna Christina Ribeiro,\u003c\/i\u003e\u003c\/b\u003e \u003ci\u003eTexas Tech University\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e\"To my knowledge, Lamarque and Olsen's anthology is the most comprehensive and judiciously put-together collection of its kind to date. It includes all of the authors one can think of on anyone's list of the major contributors to the late twentieth-century analytic tradition in aesthetics and philosophy of art. It is both deep and broad. If you are going to a desert island, and baggage space is limited, this is definitely the collection on the subject you want to take with you.\" \u003cb\u003e\u003ci\u003ePeter Kivy\u003c\/i\u003e\u003c\/b\u003e \u003c\/p\u003e\u003cp\u003eFor over fifty years, philosophers working within the broader remit of analytic philosophy have developed and refined a substantial body of work in aesthetics and the philosophy of art, securing a core foundation of scholarship which offers rigor and clarity on matters of profound and perennial interest relating to art and all forms of aesthetic appreciation. Now in its second edition and thoroughly revised, \u003ci\u003eAesthetics and the Philosophy of Art—The Analytic Tradition: An Anthology\u003c\/i\u003e captures this legacy in a comprehensive introduction to the core philosophical questions and conversations in aesthetics. \u003c\/p\u003e\u003cp\u003eThrough 57 key essays selected by leading scholars Peter Lamarque and Stein Haugom Olsen, this anthology collects modern classics as well as new contributions on essential topics such as the identification and ontology of art, interpretation, values of art, art and knowledge, fiction and the imagination, and the aesthetics of nature. New to this edition are selections which treat aesthetic experience more widely, including essays on aesthetic testimony, imaginative resistance, and aesthetics in everyday life. Other carefully-chosen pieces analyze in detail the practice and experience of specific art forms, including painting, photography, film, literature, music, and popular art such as comics. \u003c\/p\u003e\u003cp\u003eThis bestselling collection is an essential resource for students and scholars of aesthetics, designed to foster a foundational understanding of both well-established and contemporary debates in the field.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47988701266149,"sku":"NP9781119222446","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781119222446.jpg?v=1761781246","url":"https:\/\/k12savings.com\/es\/products\/aesthetics-and-the-philosophy-of-art-isbn-9781119222446","provider":"K12savings","version":"1.0","type":"link"}