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Displaying: 1-10 of 11 documents


philosophy of art
1. Croatian Journal of Philosophy: Volume > 19 > Issue: 2
Iris Vidmar Introduction
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2. Croatian Journal of Philosophy: Volume > 19 > Issue: 2
David Davies Making Sense of ‘Popular Art’
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The aims of this paper are twofold: first, to identify a sense of ‘popular art’ in which the question, ‘can there be popular art?’ is interesting and the answer to this question is not obvious; second, to propose and defend a challenging but attractive answer to this question: challenging in that it draws some distinctions we might not initially be inclined to draw, and attractive in offering a productive way of thinking about the ontology, epistemology, and axiology of the kinds of artifacts proposed as examples of ‘popular art’. I take the ‘interesting’ question to be whether, given a way of distinguishing artworks from other kinds of artifacts, there can be artworks that meet the conditions set out by Noel Carroll for what he terms ‘mass art’. I sketch a way of thinking about the distinction between artworks and other artifacts—what I term the neo-Goodmanian approach—and then explore the implications of the neo-Goodmanian approach for the existence of ‘popular art’, and vice versa. In so doing, I subsume these issues under a more general problem for the neo-Goodmanian—what I term the problem of ‘fast art’. I argue that, while the neo-Goodmanian can embrace artworks that are ‘popular’ in the sense of being targeted at a wide audience, she should insist that there cannot be artworks that meet all of Carroll’s requirements for being ‘mass art’.
3. Croatian Journal of Philosophy: Volume > 19 > Issue: 2
James R. Hamilton Aesthetic and Artistic Verdicts
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In this article I propose a way of thinking about aesthetic and artistic verdicts that would keep them distinct from one another. The former are reflections of the kinds of things we prefer and take pleasure in; the latter are reflections of other judgments we make about the kinds of achievements that are made in works of art. In part to support this view of verdicts, I also propose a way of keeping distinct the description, the interpretation, and the evaluation of works of art. (And along the way, I worry about whether we offer the same kinds of interpretations of the objects of our aesthetic pleasures, properly considered, that we clearly do offer with respect to works of art.) The thesis I propose—the achievement model—is not original with me. What is original, perhaps, is that it is posed as an alternative to two other views of artistic evaluation, namely the appeal to “ideal critics” and the appeal to one way of understanding our preferences with regard to works of art. I do not attempt to show that each of these alternatives meets with insuperable problems; but I do indicate what I take to be the substantive content of those problems. In the end, in order to flesh out the thesis I propose, I borrow some material from the literature on human well-being concerning how we determine what an achievement is.
4. Croatian Journal of Philosophy: Volume > 19 > Issue: 2
Stephen Snyder Artistic Conversations: Artworks and Personhood
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This essay explores claims made frequently by artists, critics, and philosophers that artworks bear personifying traits. Rejecting the notion that artists possess the Pygmalion-like power to bring works of art to life, the article looks seriously at how parallels may exist between the ontological structures of the artwork and human personhood. The discussion focuses on Arthur Danto’s claim that the “artworld” itself manifests properties that are an imprint of the historical representation of the “world.” These “world” representations are implicitly embodied in the artist’s style. The “world” that is stamped on the people of a historical period entails a point of view that influences how they might act, something like the logic that guides a conversation. This “conversational” logic is also extant in the artworks that artists of a given period create. This analysis of Danto’s account of how people are connected to their world clarifies Danto’s assertions that a parallel structure of personification in the artwork and the human exists. It also explains his claims that artworks themselves appear to be in a kind of dialogue.
5. Croatian Journal of Philosophy: Volume > 19 > Issue: 2
Deodáth Zuh Art History without Theory: A Case Study in 20th Century Scholarship
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This paper aims to demonstrate that art history’s need for theory remains relevant as the process of research advances. The paper rests on a case study from 1950s Hungary. Lajos Fülep composed an interesting opponent’s review on the 1955 doctoral thesis of Hungarian Renaissance scholar, Jolán Balogh. Fülep disapproves not of the lack of theory in Balogh’s scholarly work, but of her theoretical encroachments without an awareness of a basic need for theorizing. Behind Fülep’s critical review there apparently stands the instinctive idea of a Lakatosian scientific research programme. If a historian of art does not pursue a research programme, her work could easily lose its coherence and resonance. Without a research programme, there is no room left either for internal, or for external histories. One also has to consider, whether in the case of art, internal-normative history is governed by the problem of aesthetic value and whether the external-empirical history could be only formulated in these terms. If so, then a theory-unaware history of art would fail to reconstruct how different art-making individuals conceived of aesthetic properties. In line with this idea, the second part of this paper reflects on the status of research programmes in art historical practice.
6. Croatian Journal of Philosophy: Volume > 19 > Issue: 2
David Collins Aesthetic Possibilities of Cinematic Improvisation
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Contrary to the skepticism of some authors about the artistic potential or even the possibility of films being improvised artworks, I argue that not only is it conceptually possible for many elements of the filmmaking process to be performed in an improvisatory manner, but that a number of existing films and filmmaking practices provide examples of the realization of such possibilities. Further, I argue that these examples show that improvisation by filmmakers can enhance the aesthetic or artistic value of a film. As well as its artistic potential, I consider some social and ethical implications of improvisatory approaches to filmmaking, and by extension to art in general.
7. Croatian Journal of Philosophy: Volume > 19 > Issue: 2
Adam Andrzejewski Tasting the Truth: The Role of Food and Gustatory Knowledge in Hannibal
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The paper provides a philosophical analysis of the role of food and eating in Hannibal. In the classical epistemological paradigm of detective fiction knowledge is linked with the sense of sight. This means that knowledge required for solving a detective mystery is objective and intersubjective in its nature. I argue that in order to understand Dr. Lecter’s motives, it is necessary to adopt the different epistemological model whereby valuable information is acquired through the senses of taste and smell. The protagonist displays mastery of the two senses through the use of his culinary skills. This fact explains how Lecter can control over the whole intrigue through the series.
8. Croatian Journal of Philosophy: Volume > 19 > Issue: 2
James O. Young Literary Fiction and the Cultivation of Virtue
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Many philosophers have claimed that reading literary fiction makes people more virtuous. This essay begins by defending the view that this claim is empirical. It goes on to review the empirical literature and finds that this literature supports the claim philosophers have made. Three mechanisms are identified whereby reading literary fiction makes people more virtuous: empathy is increased when readers enter imaginatively into the lives of fictional characters; reading literary fiction promotes self-reflection; and readers mimic the prosocial behaviour of fictional characters. The paper concludes with a caution: there is a danger that readers could mimic antisocial behaviour displayed in literary fiction. If they do, reading some literary fiction could make readers less virtuous.
9. Croatian Journal of Philosophy: Volume > 19 > Issue: 2
Britt Harrison Introducing Cinematic Humanism: A Solution to the Problem of Cinematic Cognitivism
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A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a corrective is a genuine scepticism about the very notion of the cognitive. Using historical reconstruction, I reveal how ‘cognitive’ has become a multiply ambiguous, theory-laden term in the wake of, indeed as a consequence of, Noam Chomsky’s original stipulative definition. This generates a constitutive problem for cognitivism as both a research programme and a set of claims, and as such poses a trilemma for philosophers of film, art and beyond. I propose a Cinematic Humanist solution to the problematic commitments of cognitive film theorising and, in so doing, gesture towards a methodology I am calling ‘philosophy of film without theory’.
10. Croatian Journal of Philosophy: Volume > 19 > Issue: 2
Iris Vidmar Literature and Truth: Revisiting Stolnitz’s Anti-cognitivism
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In this paper I address Jerome Stolnitz’s famous article “On the cognitive triviality of art,” with the aim of defending aesthetic and literary cognitivism against the charges Stolnitz issues at it therein. My defence of literary cognitivism is grounded in contemporary epistemology, which, I argue, is more embracive of cognitive values of literature traditionally invoked by literary cognitivists. My discussion is structured against Stolnitz’s individual arguments, dedicated in particular to the problem of literary truth. After exploring what such notion might amount to, I move on to address the problems of applicability and triviality of literary truths, and I end by defending literature as a cognitively valuable social practice.