A new interpretation of sport derived from art-related aesthetics by Danny Shorkend submitted in accordance with the requirements for the degree of Doctor of Literature and Philosophy in the subject Art History at the University of South Africa Supervisor: Professor FJ Potgieter February 2016 1 Dedicated in loving memory of my father, David Shorkend 2 SUMMARY This thesis is concerned with understanding sport theory based on art theory. In so doing, in extending their relationship, a deeper appreciation of both may result. In turn, this may enhance our lives. While postmodern theories of art somewhat devalue the rarefied status of art, at the same time art’s openness is particularly well appointed to understanding other aesthetic domains. Scholarly attention to the so-called aesthetics of the everyday of which sport is an example, is a relatively recent paradigm shift that attempts to give philosophical weight to common, ordinary experiences as aesthetic. Art as the paradigm case of aesthetic experience is therefore useful in illuminating such experiences, one of which is sport. The results of this study are: Like art, sport idealises in its desire for perfection. Like art, sport is a second-order mimetic activity that is autonomous and reflects extra-aesthetic concerns. The implications of the postmodern language turn for art, namely detotalising and/or meaninglessness can be applied to sport. Drawing from Wittgenstein, art and sport are culturally embedded within institutional frameworks and quite simply are learnt ways of thinking and doing. Expressive theories of art were introduced which, it was found, has resonance with sport, as it can be similarly described as an expression of “aesthetic ideas”, to use Kant’s phrase. The artistic formalist perspective and the realization of form led to describing sport as aesthetically beautiful in many ways. One might apply Zangwell’s moderate aesthetic formalism to sport where formal qualities, representation and content co-exist, thus somewhat combining the above conclusions. An analysis of this kind suggests that sport may derive its meaning from an artistic perspective, at least in theory. At the same time, though not the primary focus of this thesis, one might describe the relationship between art and sport as an oscillation, if at times a dialectic, in which case boundaries between them inevitably become more complex. It is conceivable that within that complexity/struggle/play there can be self- 3 realization and world-bettering. It is also conceivable that this is a result of the emergence of a new sub-discipline, namely sports art. 4 Keywords art, sport, idealism, mimesis, postmodernism, institution, expressionism, formalism, play, body, aesthetic 5 Acknowledgements I would sincerely like to thank my supervisor Professor Frikkie Potgieter for his guidance and without whom this project could not have come to fruition. He has been instrumental in helping me complete the thesis. In the struggle to work at improving this thesis, I can only hope I live up to the idea of what a scholar is meant to be. The following people have also helped me in various ways through discussions of various kinds: Dr Nombe Mpako (UNISA – art history), Athena Vahla (Rhodes University – dance), Dr Aubrey Wulfshon (Warwick University – mathematics), Dr Gregory Fried (UCT – philosophy), Professor Tim Noakes (UCT – sports science), Rashid Begg (University of Stellenbosch – social science), Hayden Proud (South African National Gallery), David Zetler (gallery owner), Albert Shorkend, Reza Omar, Barnet Momsen, Dr Sherrylle Calder (UCT – sports science), Dawie Malan (Unisa librarian), Darryn Brick, Andrew Lamprecht (UCT – art discourse), Sanford Shamon, Davin Maltz, Jason Solomons, Craig Marcus, Dr Tony Kelly, Marcelle Shamon, Rabbi Mendel Popack, Ilze Holtzhausen de Beer (Unisa – editor) and Prof X, anonymous critical reader and advisor procured by the UNISA art history department. There are also others, too numerous to mention that have helped me forge this thesis. A thank you to my wife, Niki and our daughters Hannah and Shira for their support and love. 6 Table of Contents Forword………………………………………….……………………………………1 List of illustrations……………………………………………………………………3 Introduction……………………………………………………………………………5 Chapter 1: Idealization in art and sport ................................................................... 47 1.1. Introduction ................................................................................................... 47 1.2. Idealist theories of art…...…………………………………………………. 48 1.3. Idealist theories of sport ............................................................................... 61 1.4. Common-sense confluences between art and sport via the lens of idealism 72 1.5. A Kantian theory of sport ............................................................................ 75 1.6. Conclusion ..................................................................................................... 79 Chapter 2: Mimetic theories of art and sport .......................................................... 80 2.1. Introduction ................................................................................................... 83 2.2. Plato’s critique of mimesis ........................................................................... 85 2.3. Four “orders” of mimesis: a hermeneutic approach ................................. 87 2.4. The “orders of mimesis” in relation to sports theory ................................ 95 2.5. A common-sense observation: mimetic “play” ........................................ 100 2.6. Common-sense confluences between art and sport via the lens of mimesis 108 2.7. The athletic contest as a “tragic” form of art ………….…………….. 113 2.8. Conclusion. .................................................................................................. 116 Chapter 3: The postmodern “language turn” in relation to art and sport ......... 119 3.1. Introduction ................................................................................................... 120 3.2. The “language turn” ................................................................................... 121 3.3. Postmodern art ............................................................................................ 124 3.4. Postmodern sport ........................................................................................ 138 3.5. The argument from “intertwining” ........................................................... 147 3.6. Conclusion ................................................................................................... 152 Chapter 4: Institutional theories of art and sport ................................................. 155 4.1. Introduction ................................................................................................. 155 4.2. Institutional theories of art……………………………………………….156 4.3. The “art world” ........................................................................................... 161 4.4. The rise of the institution of sport ............................................................. 170 4.5. A Marxist critique of the institution of sport ........................................... 174 4.6. Two observations: how does this comparison enrich our understanding of both? 179 4.7. On Wittgenstein and intransitive knowledge ........................................... 188 4.8. Conclusion ................................................................................................... 192 7 Chapter 5: Expressive theories of art and sport .................................................... 195 5.1. Introduction ................................................................................................. 195 5.2. Expressive theories of art – definition and history .................................. 196 5.3. Critique of expressive theories ................................................................... 205 5.4. Comparative expressive theories of sport ................................................. 209 5.5. Critique of an “expressive” theory of sport towards multiple emotional states .................................................................................................................... 218 5.6. Two surface observations ........................................................................... 219 5.7. An extension of sport aesthetics by applying Guyer’s “Kant and philosophy of Architecture” ................................................................................. 224 5.8. Conclusion....................................................................................................226 Chapter 6: Formalist theories of art and sport ...................................................... 229 6.1. Introduction……………………………………………………………….229 6.2. Defining formalist theories of art .............................................................. 230 6.3. Critique of formalist theories of art .......................................................... 240 6.4. Formalism in sport ...................................................................................... 245 6.5. Critique of formalist theories of sport ...................................................... 253 6.6. An observation: The will to form .............................................................. 254 6.7. Elaborations on the “will to form” extended with reference to Nietzsche and others .............................................................................................................