Danto and His Critics
Philosophers and their Critics, Band 10 2. Aufl.
Updated and revised, the Second Edition of Danto and His Critics presents a series of essays by leading Danto scholars who offer their critical assessment of the influential works and ideas of Arthur C. Danto, the Johnsonian Professor Emeritus in the Department of Philosophy at Columbia University and long-time art critic for The Nation. Reflects Danto's revisions in his theory of art, reworking his views in ways that have not been systematically addressed elsewhere Features essays that critically assess the changes in Danto's thoughts and locate Danto's revised theory in the larger context of his work and of aesthetics generally Speaks in original ways to the relation of Danto's philosophy of art to his theory of mind Connects and integrates Danto's ideas on the nature of knowledge, action, aesthetics, history, and mind, as well as his provocative thoughts on the philosophy of art for the reader
Notes on Contributors ix Acknowledgments xi Selected Bibliography of the Works of Arthur Danto xiii Introduction 1 Mark Rollins Part I System and Method 13 1 Danto as Systematic Philosopher, or Comme on lit Danto en francais 15 David Carrier 2 Danto's Gallery of Indiscernibles 30 Richard Wollheim Part II Intention and Interpretation 41 3 The Invisible Content of Visual Art 43 Mark Rollins 4 Deja vu All Over Again: How Danto's Aesthetics Recapitulates the Philosophy of Mind 55 Jerry A. Fodor 5 Surface and Deep Interpretation 69 Peg Brand and Myles Brand 6 "Other Pictures We Look at, – His Prints We Read": Danto Reading Lamb Reading Hogarth on the Art of the Commonplace 84 Lydia Goehr Part III Philosophy of Art 109 7 A Tale of Two Artworlds 111 Postscript George Dickie 8 Essence, Expression, and History: Arthur Danto’s Philosophy of Art 118 Noel Carroll 9 Danto's New Definition of Art and the Problem of Art Theories 146 Noel Carroll 10 Danto and Kant: Together at Last? 153 Diarmuid Costello 11 Atomism, Art, and Arthur: Danto's Hegelian Turn 172 Robert C. Solomon and Kathleen M. Higgins Postscript Kathleen M. Higgins Part IV Historical Knowledge 197 12 Art and Its Doubles: Danto, Foucault, and Their Simulacra Postscript 199 Gary Shapiro 13 The Beginning of the End: Danto on Postmodernism 215 Daniel Herwitz 14 Danto's Aesthetic: Is It Truly General As He Claims? 232 David Carrier Part V What Philosophy Is 249 15 Art as Religion: Transfigurations of Danto's Dao 251 Richard Shusterman 16 Looking Beyond the Visible: The Case of Arthur Dantwo 267 Carlin Romano Part VI Responses 283 17 Replies to Essays 285 Arthur C. Danto Afterword: Not by a Soap Box but First by a Kiss 313 Arthur C. Danto Index 317
“Highly recommended. Upper-level undergraduates through researchers/faculty. (Choice, 1 February 2013)
Mark Rollins is Professor in the Department of Philosophy, the Philosophy-Neuroscience-Psychology Program, and the Sam Fox School of Art and Visual Design at Washington University in St. Louis. He is the author of several books on the role of images in perception and cognition and as symbols in literature and art.
It has been 30 years since the initial publication of Arthur C. Danto’s influential and award-winning treatise on the philosophy of art, The Transfiguration of the Commonplace. What is the current critical assessment of Danto and his body of work? And how have Danto’s own views changed on the nature and meaning of art? In this fully revised and expanded edition of Danto and His Critics, leading Danto scholars offer their updated critical assessments of the works and ideas of the Johnsonian Professor Emeritus in the Department of Philosophy at Columbia University and long-time art critic for The Nation. While Danto has authored several influential books and essays on the nature of knowledge, action, aesthetics, history, and mind, he is best known for his provocative thoughts on the philosophy of art. In addition to the many insightful essays featured in the first edition – along with responses by Danto – this volume contains five completely new chapters, numerous postscripts to the original essays, and a revised “Replies to Critics” section. And in a fascinating new afterword, Danto reflects on how his life as an artist before taking up philosophy shaped and informed his ideas. By offering such a comprehensive, integrated, and incisive treatment of Arthur Danto’s work, the second edition of Danto and His Critics reveals great insights into the state of contemporary art from the mind of one of the major shapers of recent aesthetic theory.
Danto and his Critics was always the best place to find illuminating discussions of Danto's work, especially his philosophy of art. The expanded edition brings it up date and makes it even better. Robert Stecker , Central Michigan University
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