What, After All, Is a Work of Art? directs our attention toward historicity, the inherent historied nature of thinking, and the artifactual, culturally emergent nature of both art and human selves. While these are familiar themes in Margolis's well-known studies of art and culture, they are largely neglected in English-language aesthetics and even philosophy in general.
Margolis brings these primary themes to bear on a number of strategically selected issues: the modernism/postmodernism dispute; the treatment of modernist and "post-historical" painting in Clement Greenberg and Arthur Danto; the coherence of relativism in interpreting art and the relevance of cultural relativity; the difference between artworks and persons as culturally constituted entities in contrast to natural entities and with regard to the logic of interpretation; the import of film on the theory of the relationship between understanding ourselves and understanding art, with special attention to the views of Walter Benjamin; and the propriety of the analogy between artworks and selves, as cultural entities, by way of treating the arts (also history, action, and language) as a form of human "utterance."
Although the argument is largely focused on certain particularly strenuous puzzles in the philosophy of art, the validity of Margolis's claims are more far reaching. If, through incorporating the reality of physical and biological nature, the emergence of art and human selves cannot rest satisfactorily on exemplars selected from nature alone, then certain fashionable views of science, of canons of understanding, conceptual resources, logic, rationality, and the like may well have to yield ground to ampler models that have been largely marginalized or overridden. In particular, the admission of historicity, the nerve of Margolis's argument, invites a decisive conceptual reorientation.
What, After All, Is a Work of Art? is based on a series of lectures Margolis delivered at various universities in Japan in the Spring of 1997, while serving as a fellow of the Japan Society for the Promotion of Science.
"Sinopsis" puede pertenecer a otra edición de este libro.
Joseph Margolis is Laura H. Carnell Professor of Philosophy at Temple University and is the author of numerous books comparing the arts and the sciences. He is past president of the American Society for Aesthetics and Honorary President of the International Association of Aesthetics. Margolis edits for Temple the series The Arts and Their Philosophies and is also co-editor of the Series of the Greater Philadelphia Philosophy Consortium, published by Penn State University Press.
"Sobre este título" puede pertenecer a otra edición de este libro.
Librería: Redux Books, Grand Rapids, MI, Estados Unidos de America
Paperback. Condición: Good. Good paperback. Text has some markings. Covers show minor wear with minor rubbing. Previous owner's name is on the inside cover.; 100% Satisfaction Guaranteed! Ships same or next business day! Nº de ref. del artículo: 112409050027
Cantidad disponible: 1 disponibles
Librería: HPB Inc., Dallas, TX, Estados Unidos de America
paperback. Condición: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority! Nº de ref. del artículo: S_447172405
Cantidad disponible: 1 disponibles
Librería: Better World Books Ltd, Dunfermline, Reino Unido
Condición: Very Good. Ships from the UK. Former library book; may include library markings. Used book that is in excellent condition. May show signs of wear or have minor defects. Nº de ref. del artículo: 16188031-6
Cantidad disponible: 1 disponibles
Librería: Phatpocket Limited, Waltham Abbey, HERTS, Reino Unido
Condición: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. Nº de ref. del artículo: Z1-J-030-02135
Cantidad disponible: 1 disponibles
Librería: Anybook.com, Lincoln, Reino Unido
Condición: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Clean from markings. In poor condition, suitable as a reading copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,350grams, ISBN:9780271018669. Nº de ref. del artículo: 9297327
Cantidad disponible: 1 disponibles
Librería: Toscana Books, AUSTIN, TX, Estados Unidos de America
Paperback. Condición: new. Excellent Condition.Excels in customer satisfaction, prompt replies, and quality checks. Nº de ref. del artículo: Scanned0271018666
Cantidad disponible: 1 disponibles
Librería: Revaluation Books, Exeter, Reino Unido
Paperback. Condición: Brand New. 143 pages. 9.00x6.25x0.50 inches. In Stock. Nº de ref. del artículo: x-0271018666
Cantidad disponible: 2 disponibles
Librería: moluna, Greven, Alemania
Condición: New. This text directs attention toward historicity, the inherent historied nature of thinking, and the artifactual, culturally emergent nature of art and human selves. It applies these themes to several issues from the post/modernism dispute to the propriety of. Nº de ref. del artículo: 5899795
Cantidad disponible: Más de 20 disponibles
Librería: AHA-BUCH GmbH, Einbeck, Alemania
Taschenbuch. Condición: Neu. Neuware - What, After All, Is a Work of Art directs our attention toward historicity, the inherent historied nature of thinking, and the artifactual, culturally emergent nature of both art and human selves. While these are familiar themes in Margolis's well-known studies of art and culture, they are largely neglected in English-language aesthetics and even philosophy in general. Margolis brings these primary themes to bear on a number of strategically selected issues: the modernism/postmodernism dispute; the treatment of modernist and 'post-historical' painting in Clement Greenberg and Arthur Danto; the coherence of relativism in interpreting art and the relevance of cultural relativity; the difference between artworks and persons as culturally constituted entities in contrast to natural entities and with regard to the logic of interpretation; the import of film on the theory of the relationship between understanding ourselves and understanding art, with special attention to the views of Walter Benjamin; and the propriety of the analogy between artworks and selves, as cultural entities, by way of treating the arts (also history, action, and language) as a form of human 'utterance.'Although the argument is largely focused on certain particularly strenuous puzzles in the philosophy of art, the validity of Margolis's claims are more far reaching. If, through incorporating the reality of physical and biological nature, the emergence of art and human selves cannot rest satisfactorily on exemplars selected from nature alone, then certain fashionable views of science, of canons of understanding, conceptual resources, logic, rationality, and the like may well have to yield ground to ampler models that have been largely marginalized or overridden. In particular, the admission of historicity, the nerve of Margolis's argument, invites a decisive conceptual reorientation.What, After All, Is a Work of Art is based on a series of lectures Margolis delivered at various universities in Japan in the Spring of 1997, while serving as a fellow of the Japan Society for the Promotion of Science. Nº de ref. del artículo: 9780271018669
Cantidad disponible: 2 disponibles