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Author:   Alperson
Publisher:   Oxford University Press Inc
Imprint:   Oxford University Press Inc
Dimensions:   Width: 16.50cm , Height: 3.20cm , Length: 23.40cm
Weight:   0.950kg
ISBN:  

9780195059755

ISBN 10:   0195059751
Pages:   640
Publication Date:   09 April 1992
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   To order  
Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us.

Table of Contents

I. The Idea of the Visual Arts 1: Jerome Stolnitz: The Aesthetic Attitude 2: Thomas Munro: On the Nature of the Visual Arts 3: George Dickie: The Myth of the Aesthetic Attitude 4: Benedetto Croce: Intuition, Technique and the Classification of the Arts 5: Gotthold Ephraim Lessing: On the Limits of Painting and Poetry II. Painting and the Pictorial Arts: Form and the Representation of the Visible World 6: Plato: A Copy Theory of Representation 7: E.H. Gombrich: Truth and the Stereotype: An Illusion Theory of Representation 8: Nelson Goodman: Reality Remade: A Denotation Theory of Representation 9: Kendall L. Walton: Looking at Pictures and Looking at Things 10: Stephanie Ross: Caricature 11: Clive Bell: The Aesthetic Hypothesis: Significant Form and Aesthetic: Emotion III. Painting and the Pictorial Arts: Wider Contexts 12: Wassily Kandinsky: Concerning the Spiritual in Art 13: Monroe C. Beardsley: Symbolism A. Psychology 14: Rudolf Arnheim: Art and Thought 15: Sigmund Freud: Leonardo da Vinci and a Memory of His Childhood 16: Herbert Read: The Forms of Things Unknown 17: Douglas N. Morgan: Psychology and Art Today: A Summary and Critique B. Religion 18: Etienne Gilson: The Religious Significance of Painting 19: Leo Steinberg: The Sexuality of Christ in Renaissance Art and in Modern Oblivion C. Politics and Society 20: Kenneth Clark: The Naked and the Nude 21: John Berger: Ways of Seeing Women 22: Why Have There Been No Great Women Artists? Linda Nochlin IV. Arts of the Camera 23: Andre Bazin: The Ontology of the Photographic Image 24: Susan Sontag: In Plato's Cave 25: Joel Snyder and Neil Walsh Allen: Photography, Vision, and Representation 26: Siegfried Kracauer: A Realist Theory of Film 27: Rudolf Arnheim: Film as Art 28: Francis Sparshott: Basic Film Aesthetics V. Sculpture, Architecture, and Hand-Crafted Objects 29: Herbert Read: The Discovery of Space 30: Tom Wolfe: The Worship of Art: Notes on the New God 31: Horatio Greenough: Form and Function 32: Nelson Goodman: How Buildings Mean 33: Michael Graves: A Case for Figurative Architecture 34: R.G. Collingwood: Art and Craft 35: Leon Rosenstein: The Aesthetic of the Antique 36: Octavio Paz: Use and Contemplation VI. Modern Developments 37: Arnold Berleant: Aesthetics and the Contemporary Arts 38: Arthur Danto: The Artworld 39: George Dickie: What is Art?: An Institutional Analysis 40: Joseph Margolis: The Ontological Peculiarity of Works of Art 41: Timothy Binkley: Piece: Contra Aesthetics VII. Art History and Museums 42: Erwin Panofsky: The History of Art as a Humanistic Discipline 43: Jenefer M. Robinson: Style and Significance in Art History and Art Criticism 44: Kendall L. Walton: Categories of Art 45: Nelson Goodman: Art and Authenticity The New Art History: A Symposium 46: What is New About the New Art History ? Thomas Dacosta Kaufmann 47: Michael Marrinan: Cultural Institutions and the Topography of Art History 48: Arthur Danto: Old, New and Not So New Art History 49: Francis Sparshott: Showing and Saving, Looking and Learning: An Outsider's View of Art Museums 50: Hilde Hein: Exhibits and Artworks VIII. On the Borders of the Visual Arts 51: Francis Sparshott: Why Philosophy Neglects the Dance 52: Kathleen Higgins: Sweet Kitsch 53: Paul Bouissac: Circus, Clowns and Culture 54: Allen Carlson: Appreciation and the Natural Envoirnment 55: Donald Crawford: Nature and Art: Some Dialectical Relationships 56: Barbara Sandrisser: Rain 57: Curt Ducasse: The Art of Personal Beauty 58: Oscar Wilde: Life as the Imitation of Art

Reviews

scholarly and well-organized Lydia Goehr, Boston University an interesting and different anthology ... provid[es] a broad range of perspectives Timothy Binkley, Institute for Computers in the Arts

scholarly and well-organized Lydia Goehr, Boston University an interesting and different anthology ... provid[es] a broad range of perspectives Timothy Binkley, Institute for Computers in the Arts

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