New PDF release: Aesthetic and Artistic Autonomy (Bloomsbury Studies in

ISBN-10: 1441126074

ISBN-13: 9781441126078

Author note: Owen Hulatt (Editor)
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Whether paintings may be completely self sustaining has been time and again challenged within the smooth heritage of aesthetics. during this number of specially-commissioned chapters, a group of specialists speak about the level to which artwork could be defined in simple terms when it comes to aesthetic categories.

Covering examples from Philosophy, tune and artwork background and drawing on continental and analytic resources, this quantity clarifies the connection among artistic endeavors and extra-aesthetic issues, together with historical, cultural or monetary components. It provides a accomplished evaluation of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. by means of heavily analyzing how the construction of works of art, and our decisions of those works of art, relate to society and background, Aesthetic and inventive Autonomy presents an insightful and sustained dialogue of an immense query in aesthetic philosophy.

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Extra resources for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)

Sample text

Why allegorical art is to be considered "inferior" to symbolic art depends on the fact that it is less real in Schelling's sense. Allegory's "mistake" is that of starting from the particular, 25 while the goal is the futural apotheosis of the whole, a "new return" to symbolic art, in which schematism plus allegory form an identity. When the ideal prevails, as in the verbal arts, the results are more philosophical than in the formative arts, since the former operate through a medium that is also ideal.

There is an unavoidable discrepancy between the outer and the inner in art unless one postulates the total metaphysical immanence of thought (or expression) and reality. This is a plausible interpretation of Hegel's philosophy, however, if it is correct, it becomes impossible to justify the theme of the end of art. The price that art pays for its actuality is that future self-transcendence is ignored. Moreover, the demands of the Absolute restrict art to the secondary role of beautifying a reality that is already, ante artem, meaningful.

Its truth is, as a consequence, deficient. Classical art is all that symbolic art is not; in the classical form what prevails is the unity of form and content, that is the ideal, spiritual subjectivity which alone is absolutely meaningful and true. A perfect correspondence testifies to the predominance of inner life which dominates externality, but in such a way that the natural becomes ideal and the ideal beauty. In this meaningful presentation of the human body one perceives the concrete symmetry of individuality.

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