David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Journal of Aesthetics and Art Criticism 64 (3):367–377 (2006)
Aesthetic theoriesmayclaim universality, but they are normally conditioned by the aesthetic issues and debates of their own times. Plato and Aristo- tle were motivated both to account for the Greek arts of their day and to connect aesthetics to their general metaphysics and theories of value. Closer to our time, asNo¨el Carroll observes, the theories of Clive Bell and R.G. Collingwood can be viewed as “defenses of emerging avant-garde practices— neoimpressionism, on the one hand, and the mod- ernist poetics of Joyce, Stein, and Eliot on the other.”1 Susanne Langer can be read as provid- ing a justification for modern dance, while the ini- tial version of George Dickie’s institutional the- ory “requires something like the presupposition that Dada is a central form of artistic practice” in order to gain intuitive appeal. The
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Citations of this work BETA
Annelies Monseré (forthcoming). Borderline Cases and the Project of Defining Art. Acta Analytica:1-17.
T. Mooney, John N. Williams & Mark Nowacki (2011). Kovesi and the Formal and Material Elements of Concepts. Philosophia 39 (4):699-720.
Grant Tavinor (2010). Videogames and Aesthetics. Philosophy Compass 5 (8):624-634.
Norman Kreitman (2011). Art as Orientation. Metaphilosophy 42 (5):642-657.
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