Aesthetics and the Philosophy of Art: Comparative Perspectives

Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
Notes on contributors
Introduction
	Notes and References
Section I: Aesthetics and aesthetic perception
	Chapter 1: Aesthetics beyond aesthetics: Regarding the contemporary relevance of the aesthetic and recharting the field of aesthetics
		Introduction: Outline of the problems
			The prevailing presupposition: Aesthetics as artistics
			Overcoming the traditional presupposition
				The scope of this congress
				From aesthetics to art criticism
				Towards a broader design of the discipline
		Some main themes and the relevance of an aesthetics beyond aesthetics
			Aesthetic fashioning of reality – embellishment
				Globalized aestheticization
				The impact on contemporary aesthetics
				The relation to traditional aesthetics
				Some flaws in globalized aestheticization
				Repercussions for traditional aesthetics
			Aesthetic comprehension of reality
				Derealization of reality
				Reconfiguration of “aisthesis”
				Revalidation of non-electronic experiences
				Resume
		Recharting the field of aesthetics
			Conceptual clarifications
				The polyvalence of the term “aesthetic”
				Family resemblances
				Aesthetics should cover the full range of the expression “aesthetic”
			Why the discipline should take advantage of an opening up beyond its traditional restrictions
				Interdisciplinary and institutional advantages
				Advantages with regent to art – Art transcending the traditional limits of aesthetics
					The work of art related to the world beyond it
						Reference to the state of the aesthetic
						Art opening views of the world
						Art and everyday perception
						Art providing models of existence
					Specific constellations of p the various dimensions of the aesthetic in single works of art
						Complexity
						Modern breaks
					Consequences
						Comprehensiveness of aesthetics
						Potential consequences for art itself
						Aesthetics beyond aesthetics: For the benefit of art
			Recognizing the discipline
				Cross-disciplinary design of the discipline
				Transdisciplinarity
				Outlook
		Notes and References
	Chapter 2: Aesthetic perception
		Notes and References
	Chapter 3: Aesthetic experience : A review
		I. The aesthetic object: Its mode of existence
		II. Work of art versus aesthetic object: Aesthetic qualities versus aesthetic values
		References
	Chapter 4: Aesthetic qualities, aesthetic experience, aesthetic value
		Introduction
		Experience, special, and ordinary
		Qualities, special, and ordinary
		Value: Some applications
		Conclusion
		Notes and References
	Chapter 5: On play and aesthetic theory
		I
		II
		III
		IV
		Notes and References
	Chapter 6: Aesthetes, critics, and the aesthetic attitude
		II
		III
		IV
		V
		Notes and References
	Chapter 7: Art and goodness: Collingwood’s aesthetics and Moore’s ethics compared
		I
		II
		III
		IV
		V
		VI
		VII
		Notes and References
	Chapter 8: On the challenge of art to philosophy: Aesthetics at the end of epistemology
		Notes and References
Section II:  Art, artefact, and the philosophy of art
	Chapter 9: Aristotle and Freud on art
		Aristotle on art
		Freud on art
		Notes and References
	Chapter 10: Art and morality
		I
		II
		III
		IV
		V
	Chapter 11: The artefactuality of art
		The artefact as a product of craftsmanship
		A classification of the arts
		Can artefactuality be conferred?
		Notes and References
	Chapter 12: Representation, representativeness, and “non-representational” art
		I
		II
		III
		IV
		V
		VI
		VII
		Notes and References
	Chapter 13: Imitation and art
		Imitation as the production of a distinct kind of mental image
		Similarity, mental image, and imitation
		The causes of imitations
		Art as imitation for its own sake
		Notes and References
	Chapter 14: Theory of impersonal art
		I
		II
		III
		IV
		Notes and References
	Chapter 15: East and West in Coomaraswamy’s theory of art
		Notes and References
Index