Art and Entertainment

Cover
Half Title
Title
Copyright
Dedication
Contents
Acknowledgements
Introduction
1 The aesthetics of entertainment
	1.1. Artist-entertainers: Armstrong, Holiday, Dickens
	1.2. The aesthetics of entertainment, and the postmodern equation of art and entertainment
	1.3. The modernist opposition of art and entertainment: humane versus hermetic art
	1.4. The entertainer-audience relation: authentic entertainers and cynical manipulators
	1.5. Undermining the modernist assimilation of entertainment with popular art
	Interview with Louise Gibbs
2 A Kristeller thesis for entertainment
	2.1. The aestheticisation of “art”
	2.2. The Kristeller thesis, and the modern system of the arts
	2.3. Developing the Kristeller thesis
	2.4. A Kristeller thesis for entertainment
3 Defining art: art for art’s sake and political art
	3.1. Defining art
	3.2. Conceptual holism: inter-defining art and the aesthetic
	3.3. Art for art’s sake
	3.4. Art for art (narrow sense) versus engaged art and propaganda; art for art (broad sense) versus philistinism
	3.5. The inseparability or unity of form and content
	Interview with Mark Carroll
	Interview with Mandhira de Saram
	Interview with James Young
4 Taste and criticism
	4.1. Elitism, meritocracy and populism
	4.2. Verdictive versus appreciative models of criticism; the democracy of taste
	4.3. Hume and elitism: real versus ideal critics and benign circularity
	4.4. Kant and populism: autonomy and the democracy of taste
	4.5. Liking and appreciating: developing a critical sensibility
	4.6. Aesthetics as practice of criticism: the Acquaintance Principle and aesthetic particularism
5 Genius: defending a Kantian account against Romantic hyperbole and Nietzschean scepticism
	5.1. The emergence of the artistic concept of genius, and rival conceptions of it
	5.2. Overview of Kant’s account
	5.3. Kant versus Sturm und Drang - genius versus taste
	5.4. Talent versus genius: science, imitation and the exemplary
	5.5. Signature style
	5.6. Geniuses, heroes and saints
	5.7. Art without genius?
6 Canons and the test of time and place
	6.1. Defining the test of time, and canons
	6.2. Kinds of canon: entering and leaving, and works mistakenly in the canon
	6.3. Ideological critique of the canon: modernist and postmodernist
	6.4. Responses to ideological critique
	6.5. A more modest critique: the instability of canons
	6.6. Possible defence of canons: “artistic progress”
	6.7. Objections to the test of time and canon: Acquaintance Principle, and contemporary classics
	Interview with James Parakilas
	Interview with Molly Barnes
7 Aesthetics of product design
	7.1. Design as problem-solving versus design as style
	7.2. Rejecting a consumerist definition: broad and narrow senses of “design”
	7.3. Function, functionalism and “useless work”
	7.4. Aesthetic and non-aesthetic: Kant on dependent beauty
	7.5 Design classics, design among the high arts, and “Everyday Aesthetics”
8 Cultural appropriation and artistic freedom
	8.1. Artistic freedom within liberal theory
	8.2. Characterising cultural appropriation
	8.3. Ownership, the artist as appropriator, and aesthetic versus moral criticism of art
References
Index