Search results
Results from the WOW.Com Content Network
Philosophy portal Subcategories. This category has the following 5 subcategories, out of 5 total. ... Pages in category "Philosophers of art" The following 136 pages ...
Some writers distinguish aesthetics from the philosophy of art, claiming that the former is the study of beauty and taste while the latter is the study of works of art. Slater holds that the "full field" of aesthetics is broad, but in a narrow sense it can be limited to the theory of beauty, excluding the philosophy of art. [1]
But, being concerned with human forms (at least in Schopenhauer's day) and human emotions, these art forms were inferior to music, which being a direct manifestation of will, was to Schopenhauer's mind the highest form of art. Schopenhauer's philosophy of music was influential in the works of Richard Wagner. Wagner was an enthusiastic reader of ...
Addressing the issue of what makes, for example, Marcel Duchamp's "readymades" art, or why a pile of Brillo cartons in a supermarket is not art, whereas Andy Warhol's famous Brillo Boxes (a pile of Brillo carton replicas) is, the art critic and philosopher Arthur Danto wrote in his 1964 essay "The Artworld":
There are a few significant continuities between the Pre-Raphaelite philosophy and that of the Aesthetes: Dedication to the idea of 'Art for Art's Sake'; admiration of, and constant striving for, beauty; escapism through visual and literary arts; craftsmanship that is both careful and self-conscious; mutual interest in merging the arts of ...
In Georg Wilhelm Friedrich Hegel's system of philosophy art is viewed as the first stage of the absolute spirit. (See also Werke, Bd. x., and Bosanquet's Introduction to Hegel's Philosophy of Fine Art.). In this stage the absolute is immediately present to sense-perception, an idea which shows the writer's complete rupture with Kant's doctrine ...
[5] The third type which Zangwill identifies as representing the transition of the philosophy of aesthetics into the 21st century is that of moderate formalism, where its principal exponents defend the principle "that all the aesthetic properties of works of art in a select class are formal, and second, that although many works of art outside ...
A work of art may embody an inference process and be an argument without being an explicit argumentation. That is the difference, for example, between most of War and Peace and its final section. 3. Speculative rhetoric or methodeutic. For Peirce this is the theory of effective use of signs in investigations, expositions, and applications of truth.