ABSTRACT

Aesthetics: A Reader in Philosophy of the Arts, fourth edition, contains a selection of ninety-six readings organized by individual art forms as well as a final section of readings in philosophical aesthetics that cover multiple art forms. Sections include topics that are familiar to students such as painting, photography and movies, architecture, music, literature, and performance, as well as contemporary subjects such as mass art, popular arts, the aesthetics of the everyday, and the natural environment. Essays are drawn from both the analytic and continental traditions, and multiple others that bridge this divide between these traditions. Throughout, readings are brief, accessible for undergraduates, and conceptually focused, allowing instructors many different syllabi possibilities using only this single volume.

 

Key Additions to the Fourth Edition

The fourth edition is expanded to include a total of ninety-six essays with nineteen new essays (nine of them written exclusively for this volume), updated organization into new sections, revised introductions to each section, an increased emphasis on contemporary topics, such as stand-up comedy, the architecture of museums, interactivity and video games, the ethics of sexiness, trans/gendered beauty, the aesthetics of junkyards and street art, pornography, and the inclusion of more diverse philosophical voices. Nevertheless, this edition does not neglect classic writers in the traditional aesthetics: Plato, Aristotle, Hume, Kant, Hegel, Heidegger, Collingwood, Bell, and writers of similar status in aesthetics. The philosophers writing new chapters exclusively for this fourth edition are:

• Sondra Bacharach on street art

• Aili Bresnahan on appreciating dance

• Hina Jamelle on digital architecture

• Jason Leddington on magic

• Sheila Lintott on stand-up comedy

• Yuriko Saito on everyday aesthetics

• Larry Shiner on art spectacle museums in the twenty-first century

• Peg Brand Weiser on how beauty matters

• Edward Winters on the feeling of being at home in vernacular architecture, as in such urban places as bars.

part I|60 pages

Painting

chapter 1|4 pages

Against Imitation

chapter 2|5 pages

The Limits of Likeness

chapter 3|2 pages

Reality Remade

chapter 4|2 pages

The “Perfect” Fake

chapter 5|4 pages

Artistic Crimes

chapter 6|3 pages

Form in Modern Painting

chapter 7|4 pages

A Formal Analysis

chapter 8|5 pages

Intentional Visual Interest

chapter 10|6 pages

The Origin of the Work of Art

chapter 12|6 pages

Painting and Ethics

chapter 13|5 pages

Art and Corruption

part II|72 pages

Photography and Moving Pictures

chapter 15|7 pages

Transparent Pictures

chapter 18|8 pages

Architectural Photography

The “Urban Photogénie” of Architainment

chapter 19|4 pages

How Beauty Matters

chapter 20|3 pages

Allegory of the Cave

chapter 22|6 pages

Moving Pictures

chapter 24|5 pages

Beauty and Evil

The Case of Leni Riefenstahl

chapter 25|5 pages

The Last King of Scotland

The Ethics of Race on Film

part III|54 pages

Architecture

chapter 26|5 pages

The Problem of Architecture

chapter 27|7 pages

Home Is Where the Heart Is

Taking Architecture Personally

chapter 28|4 pages

Ornament and Crime

Tattoos

chapter 29|3 pages

Towards an Architecture

chapter 32|4 pages

How to Experience Architecture

chapter 34|6 pages

Architectural Ghosts

part IV|74 pages

Music

chapter 36|4 pages

On the Concept of Music

chapter 37|6 pages

Ontology of Music

chapter 38|5 pages

Making Tracks

The Ontology of Rock Music

chapter 39|6 pages

Is Live Music Dead?

chapter 41|5 pages

Representation in Music

chapter 42|5 pages

Sound and Semblance

chapter 43|4 pages

African Music

chapter 44|5 pages

Jazz and Language

chapter 46|6 pages

Fakin' It

Is There Authenticity in Commercial Music?

chapter 47|6 pages

Can White People Sing the Blues?

part V|54 pages

Literature

chapter 49|5 pages

What Is Literature?

chapter 51|5 pages

The Paradox of Expression

chapter 52|5 pages

The Intention of the Author

chapter 53|5 pages

What Is an Author?

chapter 54|5 pages

Criticism as Retrieval

chapter 55|6 pages

Beneath Interpretation

chapter 56|5 pages

The Art of Writing

chapter 57|7 pages

How to Eat a Chinese Poem

chapter 58|5 pages

Imagination and Make-Believe

part VI|64 pages

Performance

chapter 59|7 pages

Ion

chapter 60|3 pages

On Tragedy

chapter 61|5 pages

The Birth of Tragedy

chapter 62|7 pages

What Is Going On in a Dance?

chapter 63|5 pages

Working and Dancing

A Response to Monroe Beardsley's “What Is Going On in a Dance?”

chapter 64|4 pages

Appreciating Dance

The View from the Audience

chapter 65|6 pages

Literature as a Performing Art

chapter 66|5 pages

The Artwork as Performance

chapter 68|6 pages

Ventriloquism and Art

chapter 69|8 pages

Magic

The Art of the Impossible

part VII|44 pages

Mass Art

chapter 70|4 pages

Defining Mass Art

chapter 71|5 pages

Plato and the Mass Media

chapter 72|6 pages

Adorno's Case Against Popular Music

chapter 73|7 pages

In Defence of Popular Arts

chapter 74|5 pages

Television and Aesthetics

chapter 76|5 pages

Videogames, Interactivity, and Art

chapter 77|5 pages

Is It Only a Game?

The Ethics of Video Game Play

part VIII|56 pages

Nature and Everyday Aesthetics

chapter 79|4 pages

Everyday Aesthetics

chapter 80|5 pages

Kitsch

chapter 81|5 pages

The Aesthetics of Junkyards

chapter 82|8 pages

Nonsense in Public Places

Songs of Black Vocal Rhythm and Blues or Doo Wop

chapter 83|3 pages

Street Art

chapter 84|6 pages

Jokes

chapter 85|5 pages

Racist Humor

chapter 86|5 pages

A Sensible Antiporn Feminism

chapter 87|6 pages

Falling in Lust

Sexiness, Feminism, and Pornography

part IX|51 pages

Art in General

chapter 88|6 pages

Of the Standard of Taste

chapter 89|2 pages

The Sublime

chapter 90|5 pages

Judgments About the Beautiful

chapter 91|5 pages

The Philosophy of Fine Art

chapter 92|5 pages

Aesthetic Concepts

chapter 93|6 pages

Categories of Art

chapter 94|6 pages

The Role of Theory in Aesthetics

chapter 95|6 pages

Art and Natural Selection

chapter 96|8 pages

Feminism in Context