The Routledge Companion to Aesthetics (Routledge Philosophy Companions)
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The third edition of the acclaimed Routledge Companion to Aesthetics contains over sixty chapters written by leading international scholars covering all aspects of aesthetics.
This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to issues and challenges in aesthetics, including art and ethics, art and religion, creativity, environmental aesthetics and feminist aesthetics. The final part addresses the individual arts, including music, photography, film, videogames, literature, theater, dance, architecture and design.
With ten new entries, and revisions and updated suggestions for further reading throughout, The Routledge Companion to Aesthetics is essential for anyone interested in aesthetics, art, literature, and visual studies.
of trying to take language as far away from itself as possible, the writer must place herself or himself at an extreme personal distance, such as to exclude as much as possible her or his presence in the writing. Language, as it is in itself, will then supposedly appear, untainted by “subjectivity” – a mode of being present in one’s writing that usually carries with it the habitual adherence to ready-made meanings, combined with a drive for systematicity which inevitably results in being too
Describing Ourselves: Wittgenstein and Autobiographical Consciousness and Art as Language: Wittgenstein, Meaning, and Aesthetic Theory, among other books and numerous articles. He is editor of Art and Ethical Criticism, coeditor of the Blackwell Companion to the Philosophy of Literature and editor of the journal Philosophy and Literature. John Haldane is Professor of Philosophy in the University of St Andrews, Scotland, and Consultor to the Pontiﬁcal Council for Culture, Rome, Italy. He writes
experience of the sublime “we can become conscious of being superior to nature within us and thus also to nature outside us (insofar as it inﬂuences us)” (§28). What is it within us that Kant believes is superior to nature? Kant’s metaphysics surfaces here, as he refers to his Critique of Pure Reason doctrine that behind the empirical, causally determined self of the empirical world there lies a supersensible, noumenal self possessing free will. The mathematically sublime and the dynamically
attending to its pictorial structures. As a result, Bell is eminently straightforward about what, in essence, he takes painting-as-an-artwork to be. Essentially, it is signiﬁcant form. That is, where a painting is a genuine artwork, it addresses the imagination like the ﬁgures of Gestalt psychology, prompting the viewer to apprehend it as an organized conﬁguration of lines, colors, shapes, spaces, vectors and the like. Bell’s conception of painting is a rival to other general theories of art.
notion of the unity of a “vehicle” and its meaning or expression also applies to the work of art. At various places in his work Merleau-Ponty compares the expressiveness of the body to that of a work of art. Just as expressions and gestures of the body are indistinguishable from what they are perceived as expressing, so works of art or music cannot be separated from what they express. That does not mean that they do not say or mean anything. They are not, as Sartre would have it, mute. It is just