Abstract

Proposes a theory of fine art which will account both for the artist's ability to "originate" novel individuals and for the intelligibility of the work of fine art. The theory recommended for this purpose in the second and systematic portion of the book seeks to establish the possibility of interpreting the work of art as "a structure in which what is made, what is symbolized, and what is expressed are complementary aspects of the same object or event." The author's historic insights in the book's first part make it well worth reading, but it is not clear that he offers much by way of illuminating the problem of freedom beyond saying that "if...fine art produces unique but intelligible symbols, it does so because for the individual there is a class. "An extensive bibliography is appended. --C. M.