Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book (...) distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account 0f artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument. (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to (...) a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

" The essays also consider specific works by Nietzsche, including Human, All Too Humanand The Genealogy of Morals, as well as the philosopher's artistic metaphysics and semantical nihilism.

"Popular summaries of existentialism and Sartre's ideas have ensured a wide currency for such words as 'absurdity', 'nothingness', 'engagement', 'shame', and 'anguish'. But for Sartre, each of these words embodies a precise philosophical concept which he applies and explores further in his fiction and plays. Synthesized in 'Being and Nothingness' and 'Critique of Dialectical Reason', these concepts comprise a fully articulated philosophical system which, as Arthur C. Danto argues, in its vision and scope, logical responsibility and human relevance, takes (...) its place among the greatest of philosophical achievements. This book offers a synoptic and sympathetic reconstruction of the Sartrean system and in particular Sartre's analysis of the nature of language, consciousness, knowledge, self, and values." --Descripción del editor. (shrink)

In Danto's view, Andy Warhol's Brillo Box was not only a radical attack on traditional definitions of the art work; it brought the history of Western art to a close. In this collection of interconnected essays, he grapples with this and many more of the most challenging issues in art today, from the problems of contemporary pluralism to the dilemmas of censorship and state support for artists.

« ... sans le sentiment de l’organe corporel, la vie serait la simple conscience de son existence, mais ne serait pas le sentiment du bien-être ou du malaise, c’est-à-dire le sentiment de la stimulation ou de l’inhibition des forces vitales. En effet, l’esprit n’est en lui-même que vie dans le rapport avec son corps. »Il m’est arrivé deux fois qu’un point de philosophie..

Arthur C. Danto's lucid introduction to the central topics of Western philosophical thought remains an unparalleled guide to problems in metaphysics and epistemology that have engaged philosophers for several millennia. Examining the work of Plato, Berkeley, Descartes, Hume, and Wittgenstein, Danto explores debates about empiricism, the mind/body problem, the nature of matter, and the status of language, consciousness, and scientific explanation. In a new preface to this edition he considers the current relationship between philosophy and the humanities.

The overall subject of the essays in _The Body/Body Problem_ is the traditional one of what our ultimate makeup is, as creatures with minds and bodies. The central thesis is that we are beings who represent—and misrepresent—actual and possible worlds. Addressing philosophical questions of mental representation, Danto presents his distinctive approach to some of the most enduring topics in philosophy. He is concerned with the nature of description, the status of the external world, action theory, the philosophy of history, and (...) the philosophical status of psychoanalytic explanation. Representation is a central concept in philosophy, says Danto, with differences among philosophers arising in the ways they account for how representations connect to the world or to the individuals possessing them, and how they connect with one another to form systems of beliefs, feelings, and attitudes. In these essays Danto's own voice, with his arguments and speculations, provides rich philosophical pleasures that will endure, to borrow from Santayana, "under whatever sky." Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best. (shrink)

In this acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. In light of the book's impact--especially the essay "The End of Art," which dramatically announced that art ended in the 1960s--this enhanced edition includes a foreword by Jonathan Gilmore that discusses how scholarship has changed in response to it. Complete with a new bibliography of work on and influenced by Danto's ideas, _The Philosophical Disenfranchisement (...) of Art_ continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians. (shrink)

Now it is of the utmost importance to observe that expressions peculiar to a science will possess meanings that are fixed by its own procedures, and that are therefore intelligible in terms of its own rules of usage, whether or not the science has ...

A central theme of this book is that the main problems of philosophy and certainly the main traditional problems in the theory of knowledge, concern the space between language and the world. Professor Danto distinguishes between descriptive concepts, concerned with saying how the world is and semantic concepts, which have to do with the application of descriptions of the world. Failure to make these distinctions is responsible for a class of seemingly irresolvable disputes over the foundations of knowledge; but when (...) the distinction is appreciated, a plausible philosophical theory of what it is to know the world can be framed which is free from the standard scepticisms. (shrink)

Arthur Danto's work has always affirmed a deep relationship between philosophy and art. These essays explore this relationship through a number of concrete cases in which either artists are driven by philosophical agendas or their art is seen as solving philosophical problems in visual terms. The essays cover a varied terrain, with subjects including Giotto's use of olfactory data in _The Raising of Lazarus; _chairs in art and chairs as art; Mel Bochner's Wittgenstein drawings; the work of Robert Motherwell, (...) Andy Warhol, and Robert Irwin; Louis Kahn as "Archai-Tekt"; and visual truth in film. Also featured are a meditation on the battle of Gettysburg; and a celebration of the Japanese artist Shiko Munakata, an essay that is partly autobiographical. Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best. (shrink)

Arthur C. Danto's essays not only critique bodies of work but reflect upon art's conceptual evolution as well, drawing for the reader a kind of "philosophical map" indicating how art and the criteria for judging it has changed over the twentieth century. In _Unnatural Wonders_ the renowned critic finds himself at a point when contemporary art has become wholly pluralistic, even chaotic-with one medium as good as another-and when the moment for the "next thing" has already passed. So the (...) theorist goes in search of contemporary art's most exhilarating achievements, work that bridges the gap between art and life, which, he argues, is now the definitive art of our time. Danto considers the work of such young artists as John Currin and Renee Cox and older living masters including Gerhard Richter and Sol LeWitt. He discusses artists of the New York School, like Philip Guston and Joan Mitchell, and international talents, such as the South African William Kentridge. Danto conducts a frank analysis of Matthew Barney's _The Cremaster Cycle_, Damien Hirst's skeletons and anatomical models, and Barbara Kruger's tchotchke-ready slogans; finds the ghost of Henry James in the work of Barnett Newman; and muses on recent Whitney Biennials and art influenced by 9/11. He argues that aesthetic considerations no longer play a central role in the experience and critique of art. Instead art addresses us in our humanity, as men and women who seek meaning in the "unnatural wonders" of art, a meaning that philosophy and religion are unable to provide. (shrink)

Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical elements (...) in Danto's new- Hegelian art theory. In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art. (shrink)

A sympathetic and systematic reconstruction of Sartre's philosophy, explaining its relation to other major philosophical theories. Among the themes elucidated are the relation between reality and our representation of it; the parities between language and consciousness; the relationship between the world as it may be and as we structure it in our interventions as engaged beings; the conceptual interdependence of the self and others; and the connections between factual beliefs and systems of value.--Adapted from book jacket.

Dans le cadre des rencontres Contested Territories : Conversations in Practice qu’elle organise en partenariat avec la Chelsea School of Art and Design et la Naked Punch Review, la Tate Modern a réuni le 2 février 2006 Arthur Danto, Thierry de Duve et Richard Shusterman pour une table ronde portant sur le célèbre article publié par Danto en 1964, « Le monde de l’art 1 », et les questions qu’il continue de soulever. Voici la traduction de leurs exposés et (...) de leurs échanges. (shrink)

In this edition the text of The Examiner is presented as Swift wrote it, not as it was revised for publication by George Faulkner in 1738. And for the first time Swift's Examiners are juxtaposed with the Medleys of Arthur Mainwaring that replied to them every week. They bring the reader close to the actualités of London between November 1710 and June 1711. From the literary point of view The Examiner is important because it contains some of Swift's (...) best work. Even under the pressure of weekly publication he was still able to achieve, in Herbert Davis's words, 'an aloofness as if beyond bias and passion'. (shrink)

The paper considers the philosophical relationship between the form and the shape through the meaning of conceptualist art, which Arthur Coleman Danto emphasizes in his aesthetic theory. Even though modern art from the beginning of the 20th century signalled the break between the form and the shape, it has fully come to life in the postmodern sense. It will be shown that conceptual artists have understood how it is possible to keep the shape of a thing without changing (...) its form, with the idea displacing it from a predetermined function. For conceptual, postmodern art, it will be decisive to keep the shape while changing the form in which such a work of art is created, changing the character of things that were not a work of art until then. According to Hartmann’s aesthetic theory, this creates a unique aesthetic object that does not rest on the work of art itself but its perception. Danto exemplified such a path with Duchamp’s Fountain and Warhol’s Brillo Box, which witnessed a change of the form while retaining the shape, establishing postmodern aesthetics as essentially conceptual. (shrink)

Torino, 2 ottobre 2007 1. La prima volta in cui ho sentito parlare di Arthur C. Danto è stato, come sovente mi è capitato, dal mio maestro Gianni Vattimo. Me ne parlava come di uno studioso di Nietzsche, riferendosi al suo Nietzsche come filosofo, di cui mi raccomandava la lettura per la mia tesi. correva dunque l’anno 1976. Poi, anni dopo, nel 1984, avevo appena incominciato a insegnare a Trieste, me ne riparlò il mio collega Pier Aldo Rovatti, che (...) aveva tradotto qualche tempo prima la sua... (shrink)

Torino, 2 ottobre 2007 1. La prima volta in cui ho sentito parlare di Arthur C. Danto è stato, come sovente mi è capitato, dal mio maestro Gianni Vattimo. Me ne parlava come di uno studioso di Nietzsche, riferendosi al suo Nietzsche come filosofo, di cui mi raccomandava la lettura per la mia tesi. correva dunque l’anno 1976. Poi, anni dopo, nel 1984, avevo appena incominciato a insegnare a Trieste, me ne riparlò il mio collega Pier Aldo Rovatti, che (...) aveva tradotto qualche tempo prima la sua... (shrink)

Resumen: Una de las problemáticas más recurrente y también más importante para el mundo del arte del siglo XX, tanto el filosófico como el de los artistas, fue la salida de la belleza como el único relato legitimador de un objeto del que se pretendía el estatus de arte. En tal sentido, la reflexión que Arthur Coleman Danto, filósofo del arte norteamericano, ha hecho carrera como una de las posturas teóricas para enfrentarse al arte después de la belleza (...) y, además, para sustentar la necesidad de una definición del mismo a pesar de la entropía propia del siglo XX, que implicó el advenimiento del arte como producción humana determinada tanto por la belleza como por la fealdad, el asco, la industria y un largo etcétera.: One of the problems not only more recurrent but also more important to the world of art of the 20th century, both the philosophical and the artists, was the departure of beauty as the only legitimizing account of an object which is intended to the status of art. In this sense, the reflection that Arthur Coleman Danto, philosopher of American art, it has made a career as one of the theoretical positions to confront the art after the beauty and, in addition, to support the need for a definition of the same despite the entropy of the 20th century, which meant the advent of art as a human production already determined not only for beauty but for the ugliness, the repugnance, the industry and a long etcetera. (shrink)

Danto, Arthur Coleman, 2021. Po konci umění: Současné umění a oblast mimo dějiny. Prel. Šárka Lojdová. Praha: Academia.

Danto, Arthur Coleman, 2021. Po konci umění: Současné umění a oblast mimo dějiny. Prel. Šárka Lojdová. Praha: Academia.

This text explores the border between medical and social problems, the boundary between health and social change. The book studies the body as the mediator between individual and collective experience, finding that many health problems, for example the trauma of violence or depression in the course of chronic pain, are less individual medical problems than interpersonal experiences of social suffering. It argues for an ethnographic approach to moral practice in medicine, one that embraces the infrapolitical context of illness, responses to (...) it, the social institutions relating to it and the way it is configured in medical ethics. (shrink)

The lectures have afforded me an opportunity of developing more fully than in my earlier books the principles of philosophic thought associated with the modern advances of physical science. It is often said that there is no "philosophy of ...

Contemporary health care often lacks generosity of spirit, even when treatment is most efficient. Too many patients are left unhappy with how they are treated, and too many medical professionals feel estranged from the calling that drew them to medicine. Arthur W. Frank tells the stories of ill people, doctors, and nurses who are restoring generosity to medicine--generosity toward others and to themselves. The Renewal of Generosity evokes medicine as the face-to-face encounter that comes before and after diagnostics, pharmaceuticals, (...) and surgeries. Frank calls upon the Roman emperor Marcus Aurelius, philosopher Emmanuel Levinas, and literary critic Mikhail Bakhtin to reflect on stories of ill people, doctors, and nurses who transform demoralized medicine into caring relationships. He presents their stories as a source of consolation for both ill and professional alike and as an impetus to changing medical systems. Frank shows how generosity is being renewed through dialogue that is more than the exchange of information. Dialogue is an ethic and an ideal for people on both sides of the medical encounter who want to offer more to those they meet and who want their own lives enriched in the process. The Renewal of Generosity views illness and medical work with grace and compassion, making an invaluable contribution to expanding our vision of suffering and healing. (shrink)

Surveys philosophy from the neo-Platonists to St. Anselm, showing how Greek philosophy took the form in which it was known to its cultural inheritors and how ...

Action explanations like ‘I am heading to the ferry because the bridge is closed,’ are supposed to require restatement: ‘I am... because I believe the bridge is closed,’ because (i) the objective claim may be false though the intended explanation is correct, and (ii) because objective circumstances have to be cognitively mediated if they are to bear on action. This supposition is rejected here. Restatements cannot withdraw the objective claim without withdrawing the explanation. In the context of reason‐giving, belief statements (...) do not function as assertions about the inner life. The fact that belief statements may be true though the belief itself is false creates the illusion of distinctive subject matters. The illusion is exploited by conceptions of belief positing stored representations. Even if there were such representations, retrieved for the sake of expressing previously acquired beliefs, the expression of belief must endorse p and cannot merely advert to the existence and content of a representation. The reverse of the standard philosophical view about restatement is actually correct. Wherever an agent correctly adduces a belief that an objective circumstance obtains in explaining his action, a de‐psychologizing restatement that merely makes the objective claim must be ascribable to the agent. (shrink)

The Jubilee Centre’s new report, Virtuous Medical Practice, examines the place of character and values in the medical profession in Britain today. Its findings are drawn from a UK-focused multi-methods study of 549 doctors and aspiring doctors at three career stages, first and final year students and experienced doctors.