Preface to the Third Edition | p. xi |
Introduction | p. 1 |
Art and Pleasure | p. 3 |
Hume on taste and tragedy | p. 3 |
Collingwood on art as amusement | p. 6 |
Mill on higher and lower pleasures | p. 8 |
The nature of pleasure | p. 12 |
Art and Beauty | p. 14 |
Beauty and pleasure | p. 14 |
Kant on beauty | p. 16 |
The aesthetic attitude and the sublime | p. 19 |
Art and the aesthetic | p. 21 |
Gadamer and art as play | p. 23 |
Art and sport | p. 26 |
Summary | p. 29 |
Art and Emotion | p. 31 |
Tolstoy and everyday expressivism | p. 31 |
Aristotle and katharsis | p. 35 |
Expression and imagination | p. 37 |
Croce and 'intuition' | p. 38 |
Collingwood's expressivism | p. 41 |
Expression vs expressiveness | p. 44 |
Summary | p. 50 |
Art and Understanding | p. 52 |
Hegel, art and mind | p. 52 |
Art, science and knowledge | p. 54 |
Aesthetic cognitivism, for and against | p. 58 |
Imagination and experience | p. 62 |
The objects of imagination | p. 65 |
Art and the world | p. 68 |
Understanding as a norm | p. 70 |
Art and human nature | p. 73 |
Summary | p. 74 |
Music and Sonic Art | p. 76 |
Music and pleasure | p. 76 |
Music and emotion | p. 79 |
Music as language | p. 83 |
Music and representation | p. 86 |
Musical vocabulary and musical grammar | p. 88 |
Resume | p. 92 |
The uniqueness of music | p. 92 |
Music and beauty | p. 93 |
Music as the exploration of sound | p. 95 |
Sonic art and digital technology | p. 97 |
Summary | p. 101 |
The Visual Arts | p. 103 |
What is representation? | p. 104 |
Representation and artistic value | p. 105 |
Art and the visual | p. 108 |
Visual art and the non-visual | p. 113 |
Film as art | p. 116 |
Montage vs long shot | p. 118 |
'Talkies' | p. 120 |
The 'auteur' in film | p. 123 |
Summary | p. 126 |
The Literary Arts | p. 127 |
Poetry and prose | p. 127 |
The unity of form and content | p. 130 |
Figures of speech | p. 132 |
Expressive language | p. 134 |
Poetic devices | p. 135 |
Narrative and fiction | p. 140 |
Literature and understanding | p. 145 |
Summary | p. 147 |
The Performing Arts | p. 149 |
Artist, audience and performer | p. 149 |
Painting as the paradigm of art | p. 150 |
Nietzsche and The Birth of Tragedy | p. 154 |
Performance and participation | p. 157 |
The art of the actor | p. 160 |
Summary | p. 162 |
Architecture as an Art | p. 164 |
The peculiarities of architecture | p. 165 |
Form, function and 'the decorated shed' | p. 169 |
Facade, deception and the 'Zeitgeist' | p. 171 |
Functionalism | p. 174 |
Formalism and 'space' | p. 175 |
Resume | p. 178 |
Architectural expression | p. 178 |
Architecture and understanding | p. 180 |
Summary | p. 181 |
Modern Art | p. 183 |
The break with tradition | p. 183 |
Experimental art and the avant-garde | p. 185 |
The art of the readymade | p. 188 |
Conceptual art | p. 191 |
The market in art | p. 193 |
Art and leisure | p. 195 |
Summary | p. 198 |
The Aesthetics of Nature | p. 200 |
Objectivism vs subjectivism | p. 200 |
Art and interpretation | p. 203 |
The artist's intention and the 'intentional fallacy' | p. 207 |
The aesthetics of nature | p. 213 |
Summary | p. 218 |
Theories of Art | p. 221 |
Defining art | p. 221 |
Art as an institution | p. 228 |
Marxism and the sociology of art | p. 230 |
Levi-Strauss and structuralism | p. 235 |
Derrida, deconstruction and postmodernism | p. 238 |
Normative theory of art | p. 243 |
Summary | p. 248 |
Finding examples | p. 251 |
Bibliography | p. 252 |
Table of Contents provided by Ingram. All Rights Reserved. |