A long debate in aesthetics concerns the reasoned nature of criticism. The main questions in the debate are whether criticism is based on (normative) reasons, whether critics communicate reasons for their audience’s responses, and if so, how to understand these critical reasons. I argue that a great obstacle to making any progress in this debate is the deeply engrained assumption, shared by all sides of the debate, that reasons can only be either theoretical reasons (i.e., those that explain (...) what to believe or what propositions are true) or practical reasons (i.e., those that explain what is to be done or what actions are good/required/called for/otherwise worthy of doing). My aims are (1) to put pressure on this assumption that, if there are critical reasons, they must be either theoretical or practical (the EITHER/OR assumption), and (2) to suggest that, if there are critical reasons, the most central among them are neither theoretical nor practical (NEITHER/NOR). (shrink)

ABSTRACT A long debate in aesthetics concerns the reasoned nature of criticism. The main questions in the debate ask whether criticism is based on reasons, whether critics communicate reasons for their audience’s responses, and, if so, how to understand these critical reasons. I argue that a great obstacle to making any progress in this debate is the deeply engrained assumption, shared by all sides of the debate, that reasons can only be either theoretical reasons or practical reasons. My (...) aims are to put pressure on this assumption that, if there are critical reasons, they must be either theoretical or practical, and to suggest that, if there are critical reasons, the most central among them are neither theoretical nor practical. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room (...) for a nuanced distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

When we evaluate artworks, we often point to what an artist could have done or what a work could have been in order to say something about the work as it actually is. Call this counterfactual reasoning in art criticism. On my account, counterfactual claims about artworks involve comparative aesthetic judgments between actual artworks and hypothetical variations of those works. The practice of imagining what an artwork could have been is critically useful because it can help us understand how (...) artworks achieve specific aesthetic effects. I conclude by responding to an objection to my account on the basis that it violates the widely accepted acquaintance principle in aesthetics, on which aesthetic judgments must be based on firsthand perceptual encounters with their objects. (shrink)

The topical focus of the following inquiry is the critical engagement of French scholars and writers ca. 1800 – for example, Madame de Staël or Charles de Villers – with German philosophical aesthetics. With regard to this case study, the changing relationship of literary criticism and aesthetics within different national contexts can be brought into view. In France, the concept »esthétique«, which was imported as a translation of the German neologism »Ästhetik« current since the publication of Baumgarten’s work, met (...) with firm resistance from the middle of the 18th century on. The task of the following contribution is to analyze the reasons for this rejection in French intellectual circles at the end of the 18th and the beginning of the 19th centuries. In the background of these often quite intensely conducted discussions lies the question whether philosophy can legitimately claim to produce a specific discourse regarding literature. (shrink)

Contemporary analytic aestheticians have little interest in the old paradigm of expression theory. They observe that expression theorists tend to locate the essence of art in the externalization of emotion, and they argue persuasively that this tendency is unfortunate. Then they consign expression theorists like Dewey; Collingwood, and Croce to the dustbin of history. This dismissive posture has become standard in aesthetics, for some good reasons. But at least in the case of Dewey, the reasons don't apply. The burden of (...) my dissertation is to make a case for this claim. ;While Dewey does help himself to the vocabulary of expressionism in Art as Experience, he uses it to make arguments less appropriate to a fin-de-siecle expression theorist than to a contemporary cultural critic. He never claims that art is essentially the expression of emotion; he doesn't even agree that emotion is what's expressed in art. His account of expression in art is about the production and reproduction of culture by means of individual agency. It is what Charles Taylor calls expressivism, not expressionism. ;My interpretation of Dewey's aesthetics diverges radically from the one in Alan Tormey's The Concept of Expression, which has become a kind of controlling precedent for the analytic approach to expressionism. I avoid and reject Tormey's reading by locating Dewey's musings on expression in the broader contexts of his conception of the aesthetic, his pragmatist philosophical system, and the tradition of expressivist thought that includes Hamann, Herder, Hegel and Marx. Proceeding in this way not only reveals certain motivations and themes that would otherwise remain obscure, but also highlights certain insights that point toward new, more culturally grounded modes of aesthetic theorizing. I try to recover Dewey's work as a step toward this new aesthetics, an approach that I call, following Cornel West, prophetic aesthetics. (shrink)

English eighteenth-century aesthetic writers from Hume to Alison made it their aim to establish “a standard of taste by unfolding those principles that ought to govern the taste of every individual”, to set out as it were a blue-print of “a just relish” which would serve as a basis for criticism and appreciation. They thought to do this by exhibiting in the field of appreciation permanent uniformities of affective behaviour behind the conflicting idiosyn-cracies of temperament and fashion. It was (...) a psychological programme, “to explain the nature of man considered as a sensitive being capable of pleasure and pain,” a science of “apolaustics” as Hamilton would have preferred to call it. But the most that could be achieved through an empirical sociological investigation was to set up sanctions of restricted social approval for selected norms of taste and conformities of emotional response. As an approach to the problem of a rational criticism it could seem plausible only in an age where philosophical outlook was confined within the narrowly coherent traditions of a small cultivated class. (shrink)

In recent years the category of the aesthetic has been judged inadequate to the tasks of literary criticism. It has been attacked for promoting class-based ideologies of distinction, for cultivating political apathy, and for indulging irrational sensuous decadence. _Aesthetic Reason_ reexamines the history of aesthetic theorizing that has led to this critical alienation from works of art and proposes an alternative view. The book is a defense of the relevance and usefulness of the aesthetic as a cognitive resource of (...) human experience. It challenges the contemporary critical tendency to treat aesthetic value as separate from the realms of human agency and sociopolitical change. The argument unfolds through a review of the cognitivist traditions in post-Enlightenment aesthetic theory and through Singer’s own articulation of a model of ethical subjectivity that is derived from the Greek concept of akrasia, which recognizes the intrinsic fallibility of human action. His focus on akratic subjectivity is aimed at revealing how the artwork has the potential to enhance human development by cultivating habits of self-transformation. Along these lines, he shows that the aesthetic has affinities with the logic of reversal/recognition in Greek tragedy and with theories of subject formation based on intersubjective recognition. The marking of these affinities sets up a discussion of how the aesthetic can serve protocols of rational choice-making. Within this perspective, aesthetic practice is revealed to be a meaningful social enterprise rather than an effete refuge from the conflicts of social existence. The theoretical scope of the book encompasses arguments by Plato, Aristotle, Nietzsche, Kant, Hegel, Adorno, Lyotard, Bourdieu, Derrida, Althusser, and Nancy. Singer’s exposition of "akratic subjectivity" is advanced through readings of literary texts by Sophocles, Melville, Beckett, Joyce, and Faulkner as well as visual texts by Caravaggio, Cindy Sherman, Barbara Kruger, and Gerhard Richter. (shrink)

The aesthetic skeptic maintains that it is futile to dispute about taste. One and the same work of art might appear beautiful to one person but repellent to another, and we have no reason to prefer one or another of these conflicting verdicts. Hume argues that the skeptic, however, moves too quickly. The crucial question is whether qualified critics will agree on their evaluations. And the skeptic fails to provide sufficient evidence that their verdicts will diverge. We have reason to (...) expect that a consensus will emerge over time, moreover, since aesthetic values are grounded on universal principles of human nature. Skeptics might doubt that there is a natural basis for a standard of taste, but this proposal is supported by recent work in experimental aesthetics and cognitive science. (shrink)

Barbara Maria Stafford's Body Criticism is analyzed for its reliance upon monstrous bodies as the source of an alternative to the art history of the Enlightenment. A counterculture of the flesh caught in its own vision of skin diseases, bumps, and medical pathologies is painstakingly reproduced as the official opposition to reason's body. The art establishment is required to admit engravers, cartoonists, kaleidoscopists, and phrenologists. Critical questions are raised regarding Stafford's use of iconology and genealogy, as well as a (...) critical difference over the question of the revolutionary status of the postmodern aesthetic traced from the camera obscura to virtual reality perception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Monroe RememberedAesthetics: Problems in the Philosophy of Criticism on Its Fiftieth AnniversaryPeter Kivy (bio)When I proposed this symposium for the 2008 annual meeting of the American Society for Aesthetics, the title "Monroe Remembered" already in place, it was with the intention of commemorating not just the philosopher but the man as well. All who were privileged to know him personally—particularly those, like myself, just beginning their careers as (...) philosophers of art—will always remember not only the keen-edged mind of the true philosopher but the kindness and consideration of the true teacher as well. In all the years that I knew Monroe Beardsley, he never responded in anger or annoyance to any question asked of him, no matter how stupid or silly it was. Nor did he ever fail to offer assistance to any young aspirant. He was, in the best sense of the word, a "gentleman," with emphasis on the gentle. It was one of the great experiences of my life to have known him.But the other purpose of this symposium, and the principal one, is to commemorate Monroe Beardsley's work as a philosopher of art. For it is very hard to imagine that the philosophy of art, and the American Society for Aesthetics, would have prospered, as soon and as successfully as they did, were it not for Beardsley's philosophical presence in person and in his magnum opus, which is the subject of this symposium.It is altogether appropriate, for two reasons, that the papers comprising the Beardsley symposium be published in the pages of the Journal of Aesthetic Education. First, Beardsley and his book were mainly instrumental in the education of a whole new generation of philosophers of art in the 1960s who changed the face of the discipline in America and Britain. And second, no one interested in the implications for education of art and the aesthetic can afford not to be acquainted with Beardsley's imposing contribution to our understanding of both. It is our hope that the present papers will help to make this apparent and be a fitting tribute to Beardsley—both the man and his work. [End Page 1]Peter Kivy Peter Kivy is Board of Governors Professor of Philosophy at Rutgers University and a past president of the American Society for Aesthetics.Copyright © 2010 Board of Trustees of the University of Illinois... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Beardsley's AestheticsProblems in the Philosophy of CriticismDonald Crawford (bio)Monroe Beardsley's Aesthetics was published the year I was a junior philosophy major at the University of California, Berkeley, and by the end of that academic year, I had completed semester courses in the history of ancient as well as modern philosophy, logic, ethics, and the philosophy of religion. The requirements remaining for me in philosophy in my senior (...) year were a course in either epistemology or metaphysics, plus five elective philosophy courses. I had fairly developed interests in literature, especially poetry, classical music, film, and the visual arts, so it seemed natural for me to select a course in aesthetics as one of my remaining electives. Nonetheless, I had no idea what aesthetics was. When I looked up the word in the dictionary, I found the following definition: "The branch of philosophy dealing with beauty or the beautiful, especially in the fine arts." Even today, the Berkeley philosophy course catalog entry for aesthetics simply says, as it did then, "Aesthetics: Visual arts/literature and music. Form, expression, representation, style; interpretation and evaluation."Interpretation and evaluation sounded worth pursuing. At that time I had no doubt that almost any music by Bach was better than that by Offenbach, that Van Gogh's Starry Night was in a different class than Norman Rockwell's covers for the Saturday Evening Post, or that Bergman's The Seventh Seal (1957) was a far better film than Attack of the Crab Monsters of the same year. And I was fully convinced that some poems lent themselves to more interesting and profound readings—that is, interpretations—than others and therefore were better poems. So a course that dealt with the interpretation and evaluation of the visual arts, literature, and music was enticing. The class lectures were rather dull, however, and I began to have regrets for enrolling. Besides, the required text was brand new and had several drawbacks: there were no used copies available so it was expensive ($7.50!), and its 591 pages were bound in hardback and heavy. [End Page 19]Yes, the text was Beardsley's Aesthetics, and my now well-worn copy is complete with my original revealing and indelible underlines that remind me of my naiveté. I recall being immediately struck by the book's epigraph—a quotation from David Hume: "I am uneasy to think I approve of one object, and disapprove of another; call one thing beautiful, and another deform'd; decide concerning truth and falsehood, reason and folly, without knowing upon what principles I proceed." This encouraged me to think that this book and course would teach me the principles that underlay my unreasoned critical comparative evaluations of poems, films, and other works of art. Was this false optimism? After glancing at the table of contents, I quickly turned to chapter 10, "Critical Evaluation," where I read on page 454: "The problems to which we now come have been put off as long as possible in the hope that a circumspect approach would make them more vulnerable." I wasn't quite sure what that meant ("vulnerable" to what?), but it seemed to imply that it was necessary to start at the beginning of the book.1 So I did just that. To my delight, almost immediately, on page 3, Beardsley provided his definition of "aesthetics," saying: "[A]esthetics consists of those principles that are required for clarifying and confirming critical statements. It can be thought of, then, as the philosophy of criticism, or metacriticism" (3-4; emphasis in the original). Unless by "critical statement" Beardsley meant judgments of beauty, this didn't really correspond with either Webster's definition or the course description of aesthetics. Beardsley's concept of a critical statement was much broader than that in common use today, and it reflected the attitude of the founders of the American Society for Aesthetics, who named their journal the Journal of Aesthetics and Art Criticism (JAAC). Beardsley said he would be "using the term 'critical statement,' very broadly, to refer to any statement about a work of art" (3) and that a critical statement "need not be a value judgment at... (shrink)

What rational foundation underlies argument-critical judgements? What are the canons of argument criticism and how are they to be "justified"? This paper explores an analogy between art- and argument-criticism and argues that the analogy promises not only to illuminate the nature of argument criticism and capture the central goals of instruction in informal logic, but also to resolve fundamental problems at the foundations of normative theory of argument concerning the "justification" of standards of reasoning.

The thesis provides a new interpretation of Kant's claims for the epistemological significance of aesthetic judgment. I argue that the harmony of the imagination and the understanding in aesthetic judgment consists in a potentially unending activity of mental modeling, or "exhibiting," of figures corresponding to possible conceptual determinations of the perceptual form of a beautiful object. Since Kant holds just this capacity to exhibit concepts as figures in intuition to be a prerequisite to empirical conception, judgments of taste are based (...) on an activity underlying all cognition. ;I then turn to another area in which Kant claims a close connection between reflection and conception--his analysis of empirical concept formation and application. Kant states that we must presuppose a principle of reflective judgment in order to insure the discoverability of natural regularity. Kant recognizes that transcendental under-determines empirical law, but determining the extent to which Kant thinks this is true is of the utmost importance. Untempered, Kant's broad claims that the principle is necessary for the capacity to form and apply empirical concepts commits him to the un-Kantian position that a reflective principle is constitutive and not merely regulative. I find, however, that the principle is not required for the formation and application of any empirical concepts, but rather for those that purport to correspond to empirically real properties of things. ;Last, I place Kant's theory of reflection in a historical context, considering one Idealist criticism of it--that of Hegel in Faith and Knowledge. I argue that Hegel's Kant critique is best understood as an attempt to overturn the delicate balance Kant sought to strike in according a transcendentally necessary principle merely regulative status. (shrink)

Aesthetic internalism claims a link between judgement and motivation: aesthetic judgements bring with them motivations to act in characteristic ways. Critics object that there is a difference between merely liking something and judging it to be aesthetically good, and that it is our likings, not our aesthetic judgements, that motivate us. This paper develops a version of aesthetic internalism that can respond to this criticism. Wholehearted aesthetic judgements are characterized by stability, attention, and motivation. Making such judgements is an (...) important part of a good life, and so at least some aesthetic judgements are motivating. So we have reason to think that this version of aesthetic internalism is true. This paper defends wholehearted aesthetic internalism against objections, and assesses an argument from aesthetic internalism to aesthetic non-cognitivism. While wholehearted aesthetic internalism can only offer qualified support to non-cognitivism, it nonetheless offers a number of fruitful avenues for further work. (shrink)

In this chapter, I argue against empiricist positions which claim that empirical evidence can be sufficient to defeasibly justify aesthetic judgements, or judgements about the adequacy of aesthetic judgements, or sceptical judgements about someone's capacity to form adequate aesthetic judgements. First, empirical evidence provides neither inferential, nor non-inferential justification for aesthetic opinions. Second, while empirical evidence may tell us how we do respond aesthetically to artworks, it cannot tell us how we should respond to them. And, third, empirical insights into (...) the irrationality of many of our aesthetic judgements do not warrant the sceptical conclusion that we ought to refrain from forming aesthetic opinions. As a consequence of these limitations to aesthetic empiricism, we should endorse the rationalist position that aesthetic criticism is largely a matter of reasoning and, moreover, a collective undertaking. (shrink)

This study analyses the emergence of aesthetic theory in eighteenth-century Germany in relation to contemporary theories of the nature of language and signs. As well as being extremely relevant to the discussion of literary theory, this perspective casts much light on Enlightenment aesthetics. The central text under consideration shows that the extended comparison of poetry and the plastic arts contained in that major work of aesthetic criticism rests upon a theory of signs and constitutes a complex and global theory (...) of aesthetic signification. His analysis of Laocoon is preceded by chapters which establish the underlying structure and influence of the Enlightenment metasemiotic - that is, the place and function of the sign concept in the culture of the early eighteenth century. As an important reinterpretation of Lessing's Laocoon and of the development of German aesthetic theory, this book will be of special interest to students and scholars of German literature. Moreover, as a significant chapter in the history of semiotics, it will be read with profit by all those concerned with the history of literary criticism and aesthetic theory. (shrink)

Empirical research on aesthetic response poses two challenges to philosophy. The more familiar challenge is that scientific explanations of aesthetic responses debunk what we take to be our reasons for those responses. One reaction to this challenge is an accommodation strategy that seeks to reconcile the scientific findings with an improved understanding of our normative reasons. This paper presents a more fundamental challenge: a well-established body of research in social psychology indicates that we routinely confabulate the reasons we give for (...) our aesthetic response. This challenges the accommodation strategy and suggests that philosophy should adopt a more radical naturalism about aesthetic response. (shrink)

Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual (...) artworks or, more generally, our interaction with art. The main thesis to be defended is that third-personal empirical findings are of limited significance for both critical and philosophical aesthetics. Indeed, they matter only to the extent to which they draw our attention to features or facts that we then iden- tify, from our first-personal perspective, as aesthetically relevant — for instance, as reasons counting for or against certain ascriptions of aesthetic value, or as factors that causally influence our actual as- sessments and thus render them partly inadequate or irrational. This limited significance of empirical findings is in line with the rationalist approach to the formation and justification of aesthetic judgements, that I have already started to defend elsewhere. -/- With respect to critical aesthetics, one problem is that empirical investigations cannot capture the normativity of the aesthetic relevance of lower-level features or facts: the respective studies can tell us what we take to be reason-giving or valuable, but not what is reason-giving or valuable. Furthermore, we cannot use empirically knowable principles to infer the presence of aesthetic values or reasons on the basis of recognising measurable lower-level features because the only available principles are too specific to allow for their actual application to more than one existing object, or even for their actual formulation. For their antecedents make reference to a large number of very determinate properties, as well as sometimes to particular events of creation. The only exception are conceptual principles (such as ‘something symmetrical is balanced’) or default principles (such as ‘something elegant is, by default, beautiful’). But knowledge of these principles is of little inferential use due to the holistic character of the justificatory power of aesthetic reasons and, moreover, does not allow for empirical acquisition. -/- With respect to philosophical aesthetics, I start with considering the limits of evolutionary accounts of aesthetic value. Even if it is true that humans originally came to value artworks because they recognised that artworks reveal certain skills or features of artists (such as imaginativeness or resourcefulness) that are desirable in sexual partners, it does not value that our reasons for valuing art have not changed, or at least not become much more complex. In addition, the answer to the question of why we value art from an evolutionary perspective has no obvious bearing on the issue of how we should appreciate art from an aesthetic perspective, or what such aesthetic appreciation would consist in. On the other hand, experimental studies showing that our actual aesthetic evaluations are influenced by factors (such as exposure e ects, or knowledge of the prices of objects), that undermine the good standing of our responses, just reveal that it is more difficult than perhaps expected to form sound aesthetic judgements; and that we need to improve our future aesthetic judgements by diminishing as much as possible the impact of those factors. (shrink)

Abstract In this paper I suggest a way that an already promising view on ethical art criticism can account for the value of mediocre artworks which endorse morally commendable perspectives. In order for the view I call prescriptive ethicism to deal with such cases of critical ambivalence, it must take account of the interaction between moral content and form in art. Such interaction is seen in the way the aesthetic features of an artwork partly determine its moral value, or (...) success in providing ethical insight. I argue that if a work lacks the kind of moral value which is determined by the interaction between form and content, then we have little reason to engage with that work. When a work expresses an otherwise commendable moral attitude in a clumsy or trite manner, while it is clearly compromised aesthetically, it is also compromised ethically. For such a work forfeits the ability to reveal new aspects of ethical life. (shrink)

Shows how lousy food, cheesy clothes, and dingy homes can ruin our lives.

The paper discusses the principle by which we reason to what is ‘true in fiction’. The focus is David Lewis's article ‘Truth in Fiction’ (1978) which proposes an analysis in terms of counterfactuals and possible worlds. It is argued thatLewis's account is inadequate in detail and also in principle in that it conflicts radically with basic and familiar tenets of literary criticism. Literary critical reasoning about fiction concerns not the discovery of facts in possible worlds but the recovery of (...) meanings in interpretative frameworks. The model theoretic approach fails to account for common literary or rhetorical devices like unreliable narration, connotation and point of view. And in explaining indeterminacy of content in terms of truth-value gaps it gives too simplistic an account of critical reasoning about character motivation and thematic development. A more adequate account of content-indeterminacy can be provided through a comparison of the interpretation of fiction with the interpretation of human action. A broader motif in the paper is the underlying tension between what is required for the logic of fiction and what is required for the aesthetics of fiction. (shrink)

Mark A. Cheetham; Book Reviews: David E. Wellbery, Lessing'S Laocoon: Semiotics and Aesthetics in The Age of Reason, The Journal of Aesthetics and Art Criticism.

We give reasons for our judgements of works of art. (2) Reasons are inherently general, and hence dependent on principles. (3) There are no principles of aesthetic evaluation. Each of these three propositions seems plausible, yet one of them must be false. Illusionism denies (1). Particularism denies (2). Generalism denies (3). We argue that illusionism depends on an unacceptable account of the use of critical language. Particularism cannot account for the connection between reasons and verdicts in criticism. Generalism comes (...) in two forms: reversible generalism is the thesis that there are meaningful generalizations in criticism that admit of exceptions; irreversible generalism is the thesis that such generalizations cannot admit of exceptions. It is argued that Frank Sibley's defence of reversible generalism cannot provide a criterion for distinguishing valenced from non-valenced properties, and thus fails. Irreversible generalism is correct: it is logically cogent and fits our critical practices. (shrink)

ABSTRACT: Aesthetic disinterestedness is one of the central concepts in aesthetics, and Jerome Stolnitz, the most prominent theorist of disinterestedness in the 20th century, has claimed that (i) ancient thinkers engagement with this notion was cursory and undeveloped, and consequently, (ii) the emergence of disinterestedness in the 18th century marks the birth of aesthetics as a discipline. In this paper, I use the extant works of Epicurus to show that the ancient philosopher not only had similar concepts, but also motivated (...) them in careful and complex ways. I argue that, in the Epicurean theoretical framework, arts belong to the category of ‘merely natural’ desires, and this classification, combined with what we know of Epicurus’ rejection of art criticism, shows he had carefully worked out reasons supporting the idea that art ought to be approached terminally, rather than instrumentally. Finally, I compare the notion of aesthetic disinterestedness with Epicurus’ views on arts and argue that in many ways the latter are not inferior to the former, and therefore ought to belong to the history of aesthetics. (shrink)

Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. I (...) offer a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)

György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and (...) German aesthetics, the paper traces the development of Szerdahely's concept of beauty from beauty as form (uniformity amidst variety) to beauty in motion (sensibility). Initially, Szerdahely argues for unity and variety as the two main constituents of a beautiful object, evoking disinterested contemplation, but he then turns to sensibility as the third necessary condition of beauty: an object becomes aesthetically beautiful only if it has the power to strike the senses (Lux) and stir the affections (Vivacitas), enlivening the whole embodied person. The paper argues that this third principle of sensibility proves to be more emphatic than the first two, leading to (1) the aesthetic conception of beauty as an experiential quality; but more interestingly to (2) the incorporation of the element of self-preservation and self-love into aesthetic experience. The reason for the latter development lies in Szerdahely’s anthropological argument, which traces back every affection to the instantaneous apprehension of good or evil concerning ourselves, implying desire (Adpetitus) or aversion (Auersi) in our reactions. (shrink)

A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at (...) pleasure. Yet their reasons for acting are aesthetic. Since aesthetic values figure in aesthetic reasons, we can read a nonempiricist theory of aesthetic value off aesthetic experts’ reasons for acting. (shrink)

The relationship between aesthetic value and other moral and cognitive values has been a key theme within contemporary aesthetic discussion. In this article, I explore once again the implications of this relationship, but from what I think might be a different angle. With few exceptions, notably Dominic Lopes, most of the contributions to this issue have dealt with the impact that moral or cognitive values could possibly have on the overall aesthetic value of a work of art. In this article, (...) I explore instead how aesthetic properties or merits could play a role in explaining moral and cognitive properties. To do so, I first offer some examples that I think may reasonably exemplify the phenomenon we are considering. Second, I argue that a proper account of interactionism should meet at least two constraints: the relevance constraint and the autonomy constraint. Finally, I try to clarify how it is possible that aesthetic properties substantially contribute to other values by appealing to the notions of expression and the affective character of aesthetic properties. (shrink)

This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon the nature of ethical (...) criticism, I argue, offers new reasons to prefer moderate actual intentionalism to hypothetical intentionalism. I conclude by arguing for the necessity of broadening our conception of ethical criticism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Robert Leo CRITICISM OF CONSCIOUSNESS IN SHELLEY'S A DEFENCE OF POETRY IN his "Ode to Liberty" Shelley locates by encircling and enfolding metaphors a mythic Hellenic moment, one in which verse was yet "speechless" and philosophy still burdened with "lidless eyes." Greece— always for Shelley either the displaced Garden of prethematic unity or the mythic dream of integrated civic and aesthetic life—is about to inaugurate Athens and (...) the "wrinkled image" of historical consciousness.1 Poetry, thinking, and the tilling of an earth "to human use" are implicitly related and foreseen as destiny: from their enchanted caves Prophetic echoes flung dim melody. On the unapprehensive wild The vine, the corn, the olive mild, Grew savage yet, to human use unreconciled; And, like unfolded flowers beneath the sea, Like the man's dark thought in the infant's brain, Like aught that is which wraps what is to be, Art's deathless dreams lay veiled by many a vein Of Parian stone; and, yet a speechless child, Verse murmured, and Philosophy did strain Her lidless eyes for thee... (11. 49-60). Shelley could be describing the reading or speaking of a text, for poetic experience is an originating moment which unfolds our reflections and anticipations. Poetry elides speechlessness and the empty gaze. Its goings are all returnings, its experience is always inventive before meanings codify and resolve: "Every original language near to its source," we find in the Defence (p. 279), "is in itself the chaos of a cyclic poem; the copiousness of lexicography and the distinctions of grammar are the works of a later age and are merely the catalogue and the form of the creations of poetry." What was dark to experience is now illumined, 46 John Robert Leo47 as different regions in experience are uncovered or redistributed by language across our shifting horizons. Thus this bringing-foward-intoclarity, this moving of the previously inexpressed into articulation, is the pattern not only behind Shelley's view ofGreece producing a "sun-fire garlanded" Athens (1. 68), but also the more pervasive design describing other regarded experience. James Edie puts it this way: "We... can learn to make distinctions in our experience by attending to differences of meaning which are normally below the level of our own cultural threshold. By attending to a given region of experience, we can lower the differential thresholds already sedimented in our language almost indefinitely and make what was implicit in our experience more and more explicit."2 Edie's comments may be taken as responses to questions emerging from modernist readings of Shelley and other visionary poets—Blake, Hart Crane, or Charles Olson are instances—who sense the poetic project as a criticism of consciousness, within the lived body, as it struggles to make a world. How do language and the imagination consort in the critical regeneration of our lives? In what sorts of ways is renascence the uncovering and unfolding of an indefinite wholeness by the unlayering of fixed habits and attitudes? How does Shelley's Defence of Poetry, both a text on aesthetics and a reading of the world, suggest their alignment? What methods from critical discourse make Shelley's poetics present to our experience and thought? The adjustment of these issues is the task of the remainder of my article. First I examine Shelley's organization of consciousness into "reason" and "imagination" and trace the meanings of these functions in their immediate social context. A brief dispute with the reductive idealism of Platonic tradition allows for my third procedure, which is a phenomenological description of the imaginative field according to Husserl. Finally, I try to explicate Shelley's understanding of imaginative "decentering" within our experience. I Poetry and prose are saturated with references to phenomena. Texts refer to interior and exterior events (memory, rain), which are objects ofandfor consciousness. Shelley grasps this co-givenness of consciousness and world, their correlativity, as a condition revealed and strengthened by metaphor, which itself arrests us as "that of which we are speaking through words."3 But if it is the nature of language to be both perceptual and yet transcendental, both present and absent, it still exists as the imagination's voice in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy—Aesthetics—Education:Reflections on DanceTyson Lewis (bio)To create is to lighten, to unburden life, to invent new possibilities of life. The creator is legislator—dancer.—Gilles Deleuze, Pure ImmanenceThe Italian philosopher Giorgio Agamben is perhaps best known for his ongoing interest in the problem of "biopower." Taking up where Michel Foucault ended, Agamben argues that the principle political and philosophical questions of the moment concern the connections between life and power. In this (...) sense, he stands in diametric opposition to one of the leading French intellectuals of our times: Alain Badiou. For Badiou, the key question of the present is not so much power and the body as it is the ethics of truth. According to Agamben, Badiou's project has abandoned thinking about the biopolitics of life and as such is both philosophically and politically suspect. But does Agamben's critique prematurely dismiss Badiou? In other words, does his critique prevent us from recognizing the precise location of biopolitics in Badiou's work? It is my contention that we must read Badiou not against but from within a biopolitical framework in order to realize both the validity of Agamben's criticism and its limitations. In fact, it is through the critical lens of biopolitical theory that we can begin to see the unique links in Badiou's thinking between aesthetics, the body, and education. In conclusion, I argue that Agamben provides insights missed by Badiou's reduction of the animal body to the disavowed grounds for the grace and beauty of truth, while at the same time Badiou provides Agamben's own theory of biopolitics with a unique educative practice: the practice of dance.Here I would like to justify this philosophical inquiry for educational theorists. With the fate of art-based educational programs uncertain in the [End Page 53] face of standardization, it is perhaps time to reassess legitimating claims for retaining arts education programs. By reading Badiou through Agamben, I hope to provide a new reason for advocating the centrality of dance in educational programs and assert the inherently educative qualities of movement-based curricula. Second, I hope to suggest in my conclusion that dance is an important form of educational practice antithetical to current forms of capitalist "bioproduction." As such, I will link together my own theory of dance education with the critical pedagogical tradition in order to anchor the "utopian imagination" in a practice of the body. This is an attempt to fill in a rather vague sphere of critical pedagogical research and theory: aesthetic practice. Overall, this article will bring together two important philosophical traditions—Agamben's biopolitical theory and Badiou's theory of truth—in order to examine their relation to education and, in turn, how education is a central concept for thinking through contemporary continental philosophical traditions.Biopower and Event: Situating the Subject in Relation to TruthMichel Foucault first coined the theoretical concept "biopower" in his work on the history of sexuality.1 In order to understand Foucault's meaning we must first separate biopower from sovereign power, which is characterized by the "right to decide life and death."2 The sovereign—which for Foucault is not simply a form of territorial rule but is a principle of power relations—decides who lives and who dies. Power here is the power of the sword that marks the body directly through overt forms of public torture and violence. But in the classical age and with the rise of capitalist social relations, the form and function of power switched. Famously, Foucault wrote that the highest function of power "was perhaps no longer to kill, but to invest life through and through."3 This new form of power—whose concern was no longer death but the maintenance and regulation of life—operates on two interconnected levels. First, biopower conceives of the body as a machine, which must be disciplined in order to be made more efficient. Here, power acts as microphysics, training the individual body in order to reach a high level of social efficiency. Second, on the macro level, biopower transforms the populous into a population that has to be carefully regulated in terms of propagation rates, health levels... (shrink)

Questions could and should be raised about the political profile of English Romanticism both in particular and in general. Wordsworth’s poetry is especially useful to me here because of the way in which, through formal discontinuities, it dramatizes political conflicts. Reacting against these discontinuities, aesthetically minded critics have simply tended to leave out of the canon those poems which have the greatest capacity to help us become aware of a political poetics. In this respect it may well be that Wordsworth (...) is the most stylistically perverse of the Romantic poets. Not the most difficult to read, necessarily—Percy Bysshe Shelley’s breath-suspending songs and William Blake’s determination to produce “variety in every line” with the aim of unfettering poetry surely make more aggressive and obvious demands on the reader.1 But in these cases we can be reasonably sure that the difficulties are part of a conscious and coherent intention to set imagination to work in kindling sparks from ashes. Wordsworth also set out to do this, and we can agree that he did so with some success in some poems. But critics from Samuel Taylor Coleridge onward have rightly questioned the unity of Wordsworth’s canon in this respect. In Biographia Literaria, Coleridge notices the “inconstancy of the style,” an unevenness and a general inability to satisfy the demands of “good poetry” conceived as something possessing an organic form.2 This concern with a wholeness and consistency of artifice is more Coleridge’s than Wordsworth’s, and it seems to me that it is precisely the disjunctions in the poems that embody some of their most original and historically urgent meanings. The blemishes recorded by Coleridge—alternating and dissimilar states of feeling, overminuteness in description, and obsession with “accidental circumstances” , overuse of the dramatic mode, disproportion of thought to event, and so forth—can in fact serve as eloquent signals for discerning the complexities of the poems as they address a historical crisis in consensus embodied exactly in the unstable vehicle of the Wordsworthian speaker.3 3. I have explored the “formal” implications of this crisis in Irony and Authority in Romantic Poetry , and the terms of its historical discourse in Wordsworth and the Figurings of the Real . David Simpson is professor of English at Northwestern University. He is the author of Irony and Authority in Romantic Poetry , Wordsworth and the Figurings of the Real , and Fetishism and Imagination: Dickens, Melville, Conrad and editor of German Aesthetic and Literary Criticism: Kant, Fichte, Schelling, Schopenhauer, Hegel. (shrink)

Why do people read novels, go to the theater, or listen to beautiful music? Do we seek out aesthetic experiences simply because we enjoy them--or is there another, deeper, reason we spend our leisure time viewing or experiencing works of art? Aesthetics, the first short introduction to the contemporary philosophy of aesthetics, examines not just the nature of the aesthetic experience, but the definition of art, and its moral and intrinsic value in our lives. Anne Sheppard divides her work into (...) two parts: In the first, she summarizes the major theories defining art and beauty; in the second, she explores the nature of aesthetic evaluation and appreciation. As Sheppard explains, there are three main approaches to defining art, all focused on what art objects share. One proposes that all art imitates something in life, another that it expresses something (such as anger or ecstasy), still another suggests that all art has formal qualities. There is also a fourth which offers that all art shares the quality of beauty. In the second part, which concentrates on literary art, Sheppard explores such philosophic topics as critical judgment, meaning and truth in literature, and the relationship between art and morals. She raises such questions as whether there is one correct interpretation of a work of art and whether art has a moral effect on its audience and, citing specific examples, explores the views that have been put forth. A wide-ranging, intriguing book, which assumes no formal knowledge on the part of its readers, Aesthetics opens the door to a greater understanding and appreciation of art. (shrink)

Emmanuel Levinas’ aesthetics has been critically discussed much less than other components of his philosophy. In one way, this is not surprising, given Levinas’ wider post-war project. Nevertheless, in the late 1940s, the very time his influential later philosophy was taking shape, Levinas published a series of papers on literary criticism, and on the nature of art. istents and Existence, the text where Levinas first announces his project of “leaving the climate” of Heidegger’s thought, contains in its heart a (...) remarkable discussion of modernist painting. 2 Levinas’ aesthetics, moreover, represents a provocative standpoint within modern aesthetic theory in its own right. As such, it stands as a partial corrective to the comparative and surely surprising – dearth of phenomenological analyses of art, which at the same time contrasts markedly with Heidegger’s renowned position in “The Origin of the Work of Art.” From a critical perspective, however, an examination of Levinas’ aesthetics is interesting in another, and perhaps deeper way. As critics have intimated, 3 Levinas’ aesthetics arguably marks what could be called a “supplement” within his texts. As is well known, Levinas’ post-war works defend his own post-Husserlian version of what Kant called “the primacy of practical reason” which he calls – in a more classical vein – “ethics as first philosophy.” 4 In this light, Levinas’ texts feature an axiological devaluation of aesthetics in comparison with the ethical encounter with the Other. What this paper will argue – in line with but beyond Derrida’s masterful “Violence and Metaphysics” 5 – is that aesthetic experience as analysed by Levinas has an uncanny structural proximity to his analyses of “ethics.” And recognition of this primacy might well cause us to reconsider Levinas’ classically “Greek” as much as Judaic devaluation of aesthetics as one dimension of human experience. Part I takes a poem as the basis to construct Levinas’ account of the aesthetical or art-quality of artworks. Part II examines what Levinas takes his analysis of the work of art to point towards in terms of a more general [de]ontology, wherein the reality given in phenomenological perception is doubled by its own “shadow.” Part III questions not Levinas’ aesthetics but how it signifies in terms of his avowed project of elevating ethics as “first philosophy.” –. (shrink)

There are good reasons to believe that "making a statement," in a broader sense than Danto's, is a "necessary" condition of art. But phenomenological analysis tends to show that an artwork must be "aesthetic" as well as meaningful. Otherwise, what the artist has to say could not be distinguished from many "non"artistic forms of communication. Moreover, its meaning must "subserve" the aesthetic function of the artwork, in a role best described as "significance"." "Art" must therefore be defined in terms of (...) "the creation of significant aesthetic objects". (shrink)

Reason and Sentiment Throughout the long history of philosophy there has appeared from time to time a certain dilemma which is both attractive and fatal. ...

If Western philosophy is a series of footnotes to Plato, then aesthetics is a series of footnotes to Kant. This is as true of the analytic tradition as of the Continental. But there has been an important change of emphasis in the object of inquiry of analytic aesthetics, which predominantly concerns theorising about the experience and criticism of works of art. Kant’s idea of aesthetics as primarily concerned with beauty, or heightened or intensified perceptual experiences of natural phenomena, has (...) largely been eclipsed (but not entirely: e.g., Mothersill 1984). Analytic aesthetics, once considered the neglected step-child of analytic philosophy, is beginning to gain confidence as a significant area of study with much to tell us about human experience, art, taste, expression, representation, interpretation, intention, imagination and reason. In the 1950s analytic philosophers complained of the barrenness of aesthetics, but today as analytic philosophy enters an intense period of self-searching and reassessment, it is to aesthetics that one might profitably turn to gain a better understanding of the complex Kantian origins of the discipline. The most significant Kantian legacy in the aesthetic domain has been the idea of the autonomy of the work of art and our experience of it from other theoretical, practical and sensory aspects of human life. To approach the topic of analytic aesthetics let us first ask, ‘What is analytic philosophy?’, before turning to the analytic approach to aesthetics, and the contribution of its Australasian practitioners. It is familiar that there is no dominant paradigm or practice of analysis engaged in by those who regard themselves as analytic philosophers. Analytic philosophy is closely aligned with the development and application of modern symbolic logic and with the attempt to adopt the methods of the natural sciences or to give them a certain metaphysical priority – which goes some way to explaining the lowly status aesthetics has been accorded in Anglo-American circles of philosophy for most of the twentieth century.. (shrink)

First published in 1966, the Language of Criticism was the first systematic attempt to understand literary criticism through the methods of linguistic philosophy and the later work of Wittgenstein. Literary critical and aesthetic judgements are rational, but are not to be explained by scientific methods. Criticism discovers reasons for a response, rather than causes, and is a rational procedure, rather than the expression of simply subjective taste, or of ideology, or of the power relations of society. The (...) book aims at a philosophical justification of the tradition of practical criticism that runs from Matthew Arnold, through T.S.Eliot to I.A.Richards, William Empson, F.R.Leavis and the American New Critics. It argues that the close reading of texts moves justifiably from text to world, from aesthetic to ethical valuation. In this it differs radically from the schools of "theory" that have recently dominated the humanities. (shrink)

In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non‐inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower‐level features of the objects concerned. The second objection maintains that non‐inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and other objects is limited to (...) only some of their lower‐level features that realise their higher‐level aesthetic qualities. Although my concern with the view that aesthetic judgements are subject to non‐inferential justification is very general, my discussion is primarily structured around Sibley's well‐developed and influential version of this view. (shrink)

The main purpose of the paper is to contribute to reconstructing the kind of normativity underlying Rawls’s notion of public reason and of the reasonable. The implicit target is the somewhat popular view according to which the transition from the framework of A Theory of Justice to that of Political Liberalism would entail a loss of normativity. On the contrary, the related ideas of public reason and the reasonable are argued to presuppose a notion of normativity – linked with judgment (...) – far more consistent with the premise of the fact of pluralism. After reconstructing Rawls’s notion of public reason, the two following problems are addressed: the problem of determining when allegedly shared truths, the building stones of public reason, are really such and, second, the problem of what it means for one reason to follow or proceed from a shared basis. In the context of such discussion three distinct meanings of the term ‘reasonable’ are identified, and the normatively more demanding one – the notion of some thesis or proposal being not just reasonable, but comparatively ‘more reasonable’ than another – is found to require that the reasonable be understood as the exemplary and, consequently, that we find ways to translate the Kantian doctrine of the exemplary yet universalist validity of aesthetic judgments into a non-aesthetic vocabulary. (shrink)