Arnold Berleant
Long Island University
By the close of the eighteenth century, many features of Western intellectual history had become incorporated into a coherent body of aesthetic doctrine that soon acquired the standing of tradition. "The three dogmas of aesthetics" is Allen Carlson's fitting designation of the main principles by which I have characterized this theory: that "art consists primarily of objects," that "these objects possess a special status," and that "they must be regarded in a unique way." Held against the practice and experience of the arts, each of these, I claim, is assumptive and misleading.'
Keywords aesthetics  art object  dogma
Categories (categorize this paper)
DOI 10.2307/431172
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Revision history

Download options

PhilArchive copy

Upload a copy of this paper     Check publisher's policy     Papers currently archived: 54,715
External links

Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
Through your library

References found in this work BETA

No references found.

Add more references

Citations of this work BETA

No citations found.

Add more citations

Similar books and articles

Aesthetics and the Contemporary Arts.Arnold Berleant - 1970 - Journal of Aesthetics and Art Criticism 29 (2):155-168.
Basic Logic, K4, and Persistence.Wim Ruitenburg - 1999 - Studia Logica 63 (3):343-352.
The Last Dogma of Type Confusions.Ofra Magidor - 2009 - Proceedings of the Aristotelian Society 109 (1pt1):1-29.
Problems with Persistence.Nicholas Asher - 1994 - Topoi 13 (1):37-49.


Added to PP index

Total views
210 ( #41,836 of 2,386,663 )

Recent downloads (6 months)
1 ( #550,981 of 2,386,663 )

How can I increase my downloads?


My notes