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<p>Preface ix</p> <p>Acknowledgements xi</p> <p>Sources xiii</p> <p><b>Part I: Classic Sources</b></p> <p>1 The Modern System of the Arts 3<br /><i>Paul Oskar Kristeller</i></p> <p>2 The Ancient and Modern System of the Arts 17<br /><i>James O. Young</i></p> <p>3 Ion 31<br /><i>Plato</i></p> <p>4 The Republic 39<br /><i>Plato</i></p> <p>5 Symposium 49<br /><i>Plato</i></p> <p>6 Poetics 57<br /><i>Aristotle</i></p> <p>7 Ennead I, vi 73<br /><i>Plotinus</i></p> <p>8 De Musica 81<br /><i>St. Augustine</i></p> <p>9 On the Reduction of the Arts to Theology 89<br /><i>St. Bonaventure</i></p> <p>10 Characteristics of Men, Manners, Opinions, Times 95<br /><i>Third Earl of Shaftesbury</i></p> <p>11 An Inquiry into the Original of Our Ideas of Beauty and Virtue 105<br /><i>Francis Hutcheson</i></p> <p>12 Of the Standard of Taste 121<br /><i>David Hume</i></p> <p>13 Of Tragedy 131<br /><i>David Hume</i></p> <p>14 A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful 137<br /><i>Edmund Burke</i></p> <p>15 Laocoon 147<br /><i>Gotthold Lessing</i></p> <p>16 Critique of the Power of Judgment 155<br /><i>Immanuel Kant</i></p> <p><b>Part II: Modern Theories</b></p> <p>17 Introduction 199<br /><i>Christopher Janaway and Sandra Shapshay</i></p> <p>18 Letters on the Aesthetic Education of Man 205<br /><i>Friedrich Schiller</i></p> <p>19 Letter to M. d’Alembert on the Theatre 209<br /><i>J.-J. Rousseau</i></p> <p>20 Introductory Lectures on Aesthetics 217<br /><i>G.W.F. Hegel</i></p> <p>21 The World as Will and Representation 241<br /><i>Arthur Schopenhauer</i></p> <p>22 The Beautiful in Music 281<br /><i>Eduard Hanslick</i></p> <p>23 The Birth of Tragedy 287<br /><i>Friedrich Nietzsche</i></p> <p>24 What is Art? 299<br /><i>Leo Tolstoy</i></p> <p>25 “Psychical Distance” as a Factor in Art and as an Aesthetic Principle 313<br /><i>Edward Bullough</i></p> <p>26 Art 331<br /><i>Clive Bell</i></p> <p>27 The Principles of Art 341<br /><i>R.G. Collingwood</i></p> <p>28 Art as Experience 357<br /><i>John Dewey</i></p> <p>29 The Work of Art in the Age of Mechanical Reproduction 379<br /><i>Walter Benjamin</i></p> <p>30 The Origin of the Work of Art 397<br /><i>Martin Heidegger</i></p> <p>31 Aesthetic Theory 411<br /><i>Theodor Adorno</i></p> <p>32 Criteria of Negro Art 423<br /><i>W.E.B. Du Bois</i></p> <p>33 Art or Propaganda? 429<br /><i>Alain Locke</i></p> <p><b>Part III: Contemporary Aesthetics and Philosophy of Art</b></p> <p>34 Introduction 433<br /><i>Stephanie Ross</i></p> <p>35 The Artworld 439<br /><i>Arthur Danto</i></p> <p>36 What is Art? An Institutional Analysis 449<br /><i>George Dickie</i></p> <p>37 “Art” as a Cluster Concept 461<br /><i>Berys Gaut</i></p> <p>38 When is Art? 475<br /><i>Nelson Goodman</i></p> <p>39 Art and Its Objects 483<br /><i>Richard Wollheim</i></p> <p>40 Varieties of Art 497<br /><i>Stephen Davies</i></p> <p>41 What a Musical Work Is 513<br /><i>Jerrold Levinson</i></p> <p>42 Fictional Characters as Abstract Artifacts 529<br /><i>Amie L. Thomasson</i></p> <p>43 Aesthetic Concepts 535<br /><i>Frank Sibley</i></p> <p>44 Categories of Art 551<br /><i>Kendall L. Walton</i></p> <p>45 The Myth of the Aesthetic Attitude 569<br /><i>George Dickie</i></p> <p>46 What is Aesthetic Experience? 581<br /><i>Alan H. Goldman</i></p> <p>47 Artistic Value 589<br /><i>Malcolm Budd</i></p> <p>48 Beauty Restored 597<br /><i>Mary Mothersill</i></p> <p>49 Artistic Worth and Personal Taste 609<br /><i>Jerrold Levinson</i></p> <p>50 Style and Personality in the Literary Work 619<br /><i>Jenefer Robinson</i></p> <p>51 Criticism and Interpretation 631<br /><i>Noël Carroll</i></p> <p>52 The Postulated Author: Critical Monism as a Regulative Ideal 641<br /><i>Alexander Nehamas</i></p> <p>53 Artistic Value and Opportunistic Moralism 653<br /><i>Eileen John</i></p> <p>54 Emotions in the Music 663<br /><i>Peter Kivy</i></p> <p>55 Music and Emotions 673<br /><i>Jenefer Robinson</i></p> <p>56 Fearing Fictions 691<br /><i>Kendall L. Walton</i></p> <p>57 Transparent Pictures: On the Nature of Photographic Realism 705<br /><i>Kendall L. Walton</i></p> <p>58 The Power of Movies 723<br /><i>Noël Carroll</i></p> <p>59 Oppressive Texts, Resisting Readers, and the Gendered Spectator: The “New” Aesthetics 737<br /><i>Mary Devereaux</i></p> <p>60 Feminist Philosophy of Art 751<br /><i>A.W. Eaton</i></p> <p>61 Appreciation and the Natural Environment 767<br /><i>Allen Carlson</i></p> <p>62 Everyday Aesthetics 777<br /><i>Yuriko Saito</i></p> <p>63 Aesthetic Value, Art, and Food 783<br /><i>Carolyn Korsmeyer</i></p> <p>64 Art and Aesthetic Behaviors as Possible Expressions of our Biologically Evolved Human Nature 791<br /><i>Stephen Davies</i></p> <p>Index 797</p>

“Steven Cahn and Aaron Meskin have put together an unrivalled collection of great work in philosophical aesthetics, encompassing historical sources ranging from Plato to Shaftesbury, modern theories from Schiller to Gadamer, and more recent work covering all the central areas in contemporary aesthetics and philosophy of art. I thoroughly recommend it.”<br /> <i>Peter Goldie, University of Manchester<!--end--></i><br /> <p>“The go-to book for classics in aesthetics from Plato and Aristotle to Adorno and Walton. Balanced and comprehensive, each chapter selected with a keen eye for bringing out enduring themes, this volume is a landmark achievement.”<br /> <i>Dominic McIver Lopes, University of British Columbia</i></p>

<p><b>STEVEN M. CAHN</b> is Professor Emeritus of Philosophy at the City University of New York Graduate Center. He has authored or edited over 60 books. Most recently he wrote <i>Philosophical Adventures</i>, <i>The Road Traveled and Other Essays</i>, and <i>Inside Academia: Professors, Politics, and Policies</i>.</p> <p><b>STEPHANIE ROSS</b> is Professor Emerita of Philosophy at the University of Missouri-St. Louis. She is the author of <i>What Gardens Mean </i>and papers on a variety of topics in aesthetics. Her new book, <i>Two Thumbs Up: How Critics Aid Appreciation </i>is forthcoming.</p> <p><b>SANDRA SHAPSHAY</b> is Professor of Philosophy at Hunter College and the Graduate Center, CUNY (City University of New York). She is the author of <i>Reconstructing Schopenhauer's Ethics: Hope, Compassion, and Animal Welfare </i>and has published on 18th-19th century theories of the sublime and tragedy as well as contemporary environmental aesthetics.</p>

<p><b>AESTHETICS</b></br> A COMPREHENSIVE ANTHOLOGY <p>The study of aesthetics is among the oldest areas of philosophical inquiry. Philosophers of all global traditions and historical eras have theorized about why we value art, the nature of beauty, and how we make aesthetic judgments and proclamations about works of art, artists, and artistic intent. <p><i>Aesthetics: A Comprehensive Anthology</i> offers a well-rounded and thorough introduction to Anglo-American analytic aesthetics and the philosophy of art, beginning with the foundations of aesthetic philosophy in ancient tradition and charting a course through to modern art criticism and aesthetic thought. This large collection of over 60 readings balances contemporary commentaries from a wide range of influential thinkers in analytic aesthetics with representative samples of classic primary texts from their historical predecessors, including Plato, Hume, Kant, Nietzsche, and others. Broad in scope, this anthology showcases recent scholarship on the value of art, excerpts from notable continental thinkers, and modern perspectives on feminist philosophy of art which contribute to an inclusive and balanced survey of the field. <p>New to the second edition are contemporary essays which expand the volume's coverage to include the value of art, artistic worth and personal taste, questions of aesthetic experience, and contemporary debates on new theories of art. This edition also incorporates new and more standard translations of Kant's <i>Critique of the Power of Judgment</i> and Schopenhauer's <i>The World as Will and Representation</i>, as well as texts by Rousseau, Hegel, DuBois, Alain Locke, Budd, Robinson, Saito, Eaton and Levinson. Appropriate for both beginning and advanced students of philosophical aesthetics, this thoughtfully curated selection of essays initiates readers into the study of aesthetic thought.

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