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Doing Justice to Traditional Aesthetic Theories: Weitz Reconsidered
TRAMES, 2002, 6(56/51), 3, 266–279 DOING JUSTICE TO TRADITIONAL AESTHETIC THEORIES: WEITZ RECONSIDERED Marek Volt University of Tartu Abstract. In the very first lines of his famous article – ‘The Role of Theory is Aesthetics’ – Morris Weitz tells us that each of the great art theories (Emotionalism, Voluntarism, Formalism, Intuitionism, Organicism) converges in a logically vain attempt to provide the defining properties of art. He tries to examine some of the aesthetic theories in order to see if they include adequate statements about the nature of art. But instead of giving us exact descriptions of these theories, he provided us with only a very scant summary. Thus, even if Weitz were correct in thinking that all theories converged in an essential definition of art, he does not provide any further arguments for his conviction. Some aestheticians (Diffey, Tilghman, Matthews, Snoeyenbos) have tried to do justice to the traditional theories by suggesting that aesthetic theories were not attempting to offer essentialist definitions of art. Unfortunately, those critics left untouched the aesthetic theories offered by Weitz. Therefore, in order to evaluate (1) Weitz’s account of aesthetic theories and (2) to see if the criticisms concerning his account strike home, it is necessary to consider just theories mentioned by Weitz. My paper confirms a view that within aesthetic theories a variety of purposes can be recognised. For instance, the explanation and re-evaluation of art, and the completion of metaphysical system. I. Weitz and his critics The famous article of Morris Weitz (1968) – ‘The Role of Theory in Aesthetics’ – has raised many objections since it was published.1 Perhaps the chief objection is that Weitz did not take into account the possibility that art can be defined in terms of non-manifest properties. -
The New Role of Theory in Aesthetics
RECOGNITION AND RECONCILIATION: THE NEW ROLE OF THEORY IN AESTHETICS by Kristin Amber Hrehor A thesis submitted to the Department of Philosophy In conformity with the requirements for the degree of Master of Arts Queen’s University Kingston, Ontario, Canada (September, 2007) Copyright © Kristin Amber Hrehor, 2007 Abstract George Dickie’s institutional theory of art has been subject to extensive debate over the past 30 years. It has been both revered and deplored, garnering such attention for the seemingly controversial way in which Dickie answers the question, “What is art?” In Dickie’s view, an object derives its existence as a work of art in the context of the informal institution of the “artworld,” a concept which was borrowed from Arthur Danto’s earlier work on the theoretical context surrounding works of art. Whether one finds the idea appealing or appalling, it is one that quite simply cannot be ignored, since the empirical validity of the institutional structure of art and the sorts of problems it can cause, especially in our particular time, are so remarkably clear. Another significant feature of Dickie’s institutional theory is that it provides a definition of art, a problem that philosophers of art have attempted to solve for the past few centuries. Dickie’s theory inclines one to dismiss other candidates for definitions as implausible, such as those put forth by R.G. Collingwood and Leo Tolstoy, since, as Dickie insists, an acceptable definition of art must be able to account for the many different kinds of practices that are all referred to as “art.” Both Collingwood and Tolstoy advance restricted conceptions of art that are meant to confine the use of the term “art” to a specific kind of creative activity. -
Following the Argument Where It Leads
Following The Argument Where It Leads Thomas Kelly Princeton University [email protected] Abstract: Throughout the history of western philosophy, the Socratic injunction to ‘follow the argument where it leads’ has exerted a powerful attraction. But what is it, exactly, to follow the argument where it leads? I explore this intellectual ideal and offer a modest proposal as to how we should understand it. On my proposal, following the argument where it leaves involves a kind of modalized reasonableness. I then consider the relationship between the ideal and common sense or 'Moorean' responses to revisionary philosophical theorizing. 1. Introduction Bertrand Russell devoted the thirteenth chapter of his History of Western Philosophy to the thought of St. Thomas Aquinas. He concluded his discussion with a rather unflattering assessment: There is little of the true philosophic spirit in Aquinas. He does not, like the Platonic Socrates, set out to follow wherever the argument may lead. He is not engaged in an inquiry, the result of which it is impossible to know in advance. Before he begins to philosophize, he already knows the truth; it is declared in the Catholic faith. If he can find apparently rational arguments for some parts of the faith, so much the better: If he cannot, he need only fall back on revelation. The finding of arguments for a conclusion given in advance is not philosophy, but special pleading. I cannot, therefore, feel that he deserves to be put on a level with the best philosophers either of Greece or of modern times (1945: 463). The extent to which this is a fair assessment of Aquinas is controversial.1 My purpose in what follows, however, is not to defend Aquinas; nor is it to substantiate the charges that Russell brings against him. -
Environmental Faust Succumbs to Temptations of Economic Mephistopheles, Or, Value by Any Other Name Is Preference
ENVIRONMENTAL FAUST SUCCUMBS TO TEMPTATIONS OF ECONOMIC MEPHISTOPHELES, OR, VALUE BY ANY OTHER NAME IS PREFERENCE Carol M. Rose* THE ECONOMY OF THE EARTH: PHILOSOPHY, LAW, AND THE ENVI- RONMENT. By Mark Sagoff. Cambridge: Cambridge University Press. 1988. Pp. x, 271. $29.95. In several of the chapters to his new book, Mark Sagoff begins by telling some story to frame the remainder. One of these is particularly significant for the book: Sagoff retells a New Yorker joke in which the Devil tells the new entrants to Hell that they are leaving right and wrong behind, and entering a world of mere preferences (p. 99). The Devil signifies for Sagoff the economics-oriented policy analyst, and the story is prophetic because by the end of the book, that old prefer- ence-counting Devil has caught up with Sagoff. The word "environment" appeared in the titles of several of the earlier essays on which-the book is based,' but the book has wisely subordinated that E-word to a subtitle; despite the frequent invocation of natural wonders and scenic areas, the book doesn't really focus on the environment until the last chapter. Nope, this book is about that other E-word, Economics, which is so favored by the Devil. More specifically, at least until that last chapter, the book is about how dev- ilishly daffy economists are when they talk about the environment. Sagoff thinks their clever confusions are at best distracting and at worst antidemocratic (pp. 10, 95-97), and if we don't watch out, they are going to lead us off the ethical path and straight down the road to perdition. -
Aesthetics (HSA020N207A) | University of Roehampton
09/23/21 Aesthetics (HSA020N207A) | University of Roehampton Aesthetics (HSA020N207A) View Online (Module Validation) 156 items Further Reading - additional to the weekly readings (53 items) The birth of tragedy and other writings - Friedrich Wilhelm Nietzsche, Raymond Geuss, Ronald Speirs, 1999 Book | Further Reading The Disjunctive Theory of Art: The Cluster Account Reformulated - F. Longworth, A. Scarantino, 2010-03-10 Article | Further Reading The Lyotard reader - Jean-Franc ̧ ois Lyotard, Andrew E. Benjamin, 1989 Book | Further Reading On photography - Sontag, Susan, 1979 Book | Essential Reading The principles of art - Collingwood, R. G., 1938 Book | Further Reading The century of taste: the philosophical odyssey of taste in the eighteenth century - Dickie, George, 1996 Book | Further Reading Aesthetics: a critical anthology - Dickie, George, Sclafani, R. J., Roblin, Ronald, c1989 Book | Further Reading An introduction to the philosophy of art - Richard Thomas Eldridge, 2014 Book | Further Reading Schopenhauer - Patrick Lancaster Gardiner, 1963 Book | Further Reading The Routledge companion to aesthetics - Gaut, Berys Nigel, Lopes, Dominic, 2005 Book | Further Reading Languages of art: an approach to a theory of symbols - Goodman, Nelson, 1968 Book | Further Reading Philosophy of the arts: an introduction to aesthetics - Graham, Gordon, 1997 1/11 09/23/21 Aesthetics (HSA020N207A) | University of Roehampton Book | Further Reading The sociology of art - Arnold Hauser, 2013 Book | Further Reading Emotion and the Arts - Mette Hjort, -
Reconsidering the Theoretical/Practical Divide: the Philosophy of Nishida Kitarō
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2013 Reconsidering The Theoretical/Practical Divide: The Philosophy Of Nishida Kitarō Lockland Vance Tyler University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Philosophy Commons Recommended Citation Tyler, Lockland Vance, "Reconsidering The Theoretical/Practical Divide: The Philosophy Of Nishida Kitarō" (2013). Electronic Theses and Dissertations. 752. https://egrove.olemiss.edu/etd/752 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. RECONSIDERING THE THEORETICAL/PRACTICAL DIVIDE: THE PHILOSOPHY OF NISHIDA KITARŌ A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of Philosophy University of Mississippi by LOCKLAND V. TYLER APRIL 2013 Copyright Lockland V. Tyler 2013 ALL RIGHTS RESERVED ABSTRACT Over the years professional philosophy has undergone a number of significant changes. One of these changes corresponds to an increased emphasis on objectivity among philosophers. In light of new discoveries in logic and science, contemporary analytic philosophy seeks to establish the most objective methods and answers possible to advance philosophical progress in an unambiguous way. By doing so, we are able to more precisely analyze concepts, but the increased emphasis on precision has also been accompanied by some negative consequences. These consequences, unfortunately, are much larger and problematic than many may even realize. What we have eventually arrived in at in contemporary Anglo-American analytic philosophy is a complete repression of humanistic concerns. -
What Is Causation?
What is Causation? Stathis Psillos INTRODUCTION When we philosophers think about causation we are primarily interested in what causation is what exactly is the relation between cause and effect? Or, more or less equivalently, how and in virtue of what is the cause connected to the effect? But we are also interested in an epistemic issue, viz., the possibility of causal knowledge: how, if at all, can causal knowledge be obtained? The two issues are, of course, conceptually distinct but to many thinkers, there is a connection between them. A metaphysical account of causation would be useless if it did not make, at least in principle, causal knowledge possible. Conversely, many philosophers, mostly of an empiricist persuasion, have taken the possibility of causal knowledge to act as a constraint on the metaphysics of causation: no feature that cannot in principle become the object of knowledge can be attributed to causation. As we shall see, though philosophers have thought about causation for ages, there is hardly an agreement as to what causation is. Perhaps, this is reason enough to be sceptical about the whole prospect for a single and unified metaphysical account of causation. Perhaps, what we are trying to figure out causation is not one single condition with a determinate nature. But this crisis in the foundations of causation is no reason for despair. After all, we can know a lot about what causes what without knowing what causation is or better, without being committed to the view that causation is one single thing in the world. Causation is too precious to be given up. -
31762100154713.Pdf (2.570Mb)
Working papers : the artist as critical consciousness by Larry Eugene Shelby A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF APPLIED ARTS Approved: airman ,''Exaiftining Committee Montana State University © Copyright by Larry Eugene Shelby (1975) Abstract: I. An Inquiry into the Definition of Art and Artist. This paper inquires into the nature and relevance of ex-isting definition of "Art" and "Artist." There is an analogy between the manner which art as an institution and a dictionary definition function. If language (or art) is to remain viable, it must be open to the continual revision necessary as part of the constantly changing social environment. In the sense that a dictionary is a reference book, an "inbuilt" dictionary is part of each of our mental equipment. The inbuilt dictionary is best altered through the educational system. Lexical items which have become irrelevant to the situations which they are to describe should be restructured. II. On the De-Definition/Re-Definition of Art. This essay is a rebuttal to Harold Rosenberg's article "On The De-Definition of Art" chosen because it is typical of arguments for defining art by morphological characteristics (i.e., formalist criticism). Approaches of this type have failed to deal with questions raised by "conceptual" artists regarding the existence, function and future of art, and, by implication, the education of the artist. III. Art: An Open Textured Concept. A condensed version of Morris Weitz' essay "The Role of Theory in Aesthetics" was provided. As a theory of aesthetics it is quite sufficient but Weitz presupposes that art is always of an aesthetic nature. -
A Rationalist Argument for Libertarian Free Will
A rationalist argument for libertarian free will Stylianos Panagiotou PhD University of York Philosophy August 2020 Abstract In this thesis, I give an a priori argument in defense of libertarian free will. I conclude that given certain presuppositions, the ability to do otherwise is a necessary requirement for substantive rationality; the ability to think and act in light of reasons. ‘Transcendental’ arguments to the effect that determinism is inconsistent with rationality are predominantly forwarded in a Kantian manner. Their incorporation into the framework of critical philosophy renders the ontological status of their claims problematic; rather than being claims about how the world really is, they end up being claims about how the mind must conceive of it. To make their ontological status more secure, I provide a rationalist framework that turns them from claims about how the mind must view the world into claims about the ontology of rational agents. In the first chapter, I make some preliminary remarks about reason, reasons and rationality and argue that an agent’s access to alternative possibilities is a necessary condition for being under the scope of normative reasons. In the second chapter, I motivate rationalism about a priori justification. In the third chapter, I present the rationalist argument for libertarian free will and defend it against objections. Several objections rest on a compatibilist understanding of an agent’s abilities. To undercut them, I devote the fourth chapter, in which I give a new argument for incompatibilism between free will and determinism, which I call the situatedness argument for incompatibilism. If the presuppositions of the thesis are granted and the situatedness argument works, then we may be justified in thinking that to the extent that we are substantively rational, we are free in the libertarian sense. -
Final Thesis
A DEFENSE OF AESTHETIC ANTIESSENTIALISM: MORRIS WEITZ AND THE POSSIBLITY OF DEFINING ‘ART’ _____________________________ A Thesis Presented to The Honors Tutorial College Ohio University _____________________________ In Partial Fulfillment Of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Arts in Philosophy and Art History _____________________________ By Jordan Mills Pleasant June, 2010 ii This thesis has been approved by The Honors Tutorial College and the Department of Philosophy ___________________________ Dr. Arthur Zucker Chair, Department of Philosophy Thesis Advisor ___________________________ Dr. Scott Carson Honors Tutorial College, Director of Studies Philosophy ___________________________ Jeremy Webster Dean, Honors Tutorial College iii This thesis has been approved by The Honors Tutorial College and the Department of Art History ___________________________ Dr. Jennie Klein Chair, Department of Art History Thesis Advisor ___________________________ Dr. Jennie Klein Honors Tutorial College, Director of Studies Art History ___________________________ Jeremy Webster Dean, Honors Tutorial College iv Dedicated to Professor Arthur Zucker, without whom this work would have been impossible. v Table Of Contents Thesis Approval Pages Page ii Introduction: A Brief History of the Role of Definitions in Art Page 1 Chapter I: Morris Weitz’s “The Role of Theory in Aesthetics” Page 8 Chapter II: Lewis K. Zerby’s “A Reconsideration of the Role of the Theory in Aesthetics. A Reply to Morris Weitz” -
Philosophy and the Mirror of Nature
Philosophy and the Mirror of Nature RICHARD RORTY Princeton University Press Princeton, New Jersey Copyright © 1979 by Princeton University Press Published by Princeton University Press, Princeton, New Jersey All Rights Reserved Library of Congress Cataloging-in-Publication Data Rorty, Richard. Philosophy and the mirror of nature. Includes index. 1. Philosophy. 2. Philosophy, Modern. 3. Mind and body. 4. Representation (Philosophy) 5. Analysis (Philosophy) 6. Civilization-Philosophy. I. Title. B53·R68 190 79- 84013 ISBN 0-691-07236-1 ISBN 0-691-02016-7 pbk. Publication of this book has been aided by a grant from The National Endowment for the Humanities This book has been composed in Linotype Baskerville Princeton University Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources Printed in the United States of America Second printing, with corrections, 1980 First Princeton Paperback printing, 1980 20 19 18 17 16 15 14 13 12 I I 10 TO M. V. R. When we think about the future of the world, we always have in mind its being at the place where it would be if it continued to move as we see it moving now. We do not realize that it moves not in a straight line, but in a curve, and that its direction constantly changes. Philosophy has made no progress? If somebody scratches where it itches, does that count as progress? If not, does that mean it wasn't an authentic scratch? Not an authentic itch? Couldn't this response to the stimulus go on for quite a long time until a remedy for itching is found? Wenn wir an die Zukunft der Welt denken, so meinen wir immer den Ort, wo sie sein wird, wenn sie so weiter Hiuft, wie wir sie jetzt laufen sehen, und denken nieht, da�s sie nieht gerade lauft, sondern in einer Kurve, und ihre Riehtung sieh konstant andert. -
Philosophy May 20, 2013
Outline of Philosophy May 20, 2013 Contents SOCI>Philosophy .............................................................................................................................................................. 3 SOCI>Philosophy>Aesthetics ....................................................................................................................................... 3 SOCI>Philosophy>Aesthetics>Beauty .................................................................................................................... 4 SOCI>Philosophy>Aesthetics>Theory .................................................................................................................... 4 SOCI>Philosophy>Epistemology ................................................................................................................................. 5 SOCI>Philosophy>Epistemology>Possibility ......................................................................................................... 6 SOCI>Philosophy>Epistemology>World ................................................................................................................ 6 SOCI>Philosophy>Epistemology>Object Properties .............................................................................................. 6 SOCI>Philosophy>Epistemology>System Properties ............................................................................................. 6 SOCI>Philosophy>Epistemology>Representation .................................................................................................