Download Aesthetics and the Philosophy of Art: An Introduction (2nd by Robert Stecker PDF

By Robert Stecker

ISBN-10: 1442201282

ISBN-13: 9781442201286

Praised in its unique variation for its updated, rigorous presentation of present debates and for the readability of its presentation, Robert Stecker's new version of Aesthetics and the Philosophy of paintings preserves the key topics and conclusions of the unique, whereas increasing its content material, offering new positive aspects, and adorning accessibility. Stecker introduces scholars to the background and evolution of aesthetics, and in addition makes a massive contrast among aesthetics and philosophy of paintings. whereas aesthetics is the learn of worth, philosophy of paintings offers with a much broader array of questions together with matters in metaphysics, epistemology, the philosophy of brain, to boot worth concept. defined as a "remarkably unified creation to many modern debates in aesthetics and the philosophy of art," Stecker makes a speciality of sympathetically laying undergo the play of argument that emerges as competing perspectives on a subject matter have interaction one another. This e-book doesn't easily current an argument in its present kingdom of play, yet as a substitute demonstrates a philosophical brain at paintings supporting to strengthen the difficulty towards an answer.

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Additional info for Aesthetics and the Philosophy of Art: An Introduction (2nd Edition)

Sample text

The concert hall thus presents us in a clear and unambiguous way with a certain set of relationships, in which the autonomy and privacy of the individual is treasured, a stance of impersonal politeness and good manners is assumed, familiarity is rejected, and the performers and their performance, as long as it is going on, are not subject to the audience's response. Because people who attend symphony concerts mostly go voluntarily, we can assume that they enjoy doing so; therefore, it is not too far-fetched to suggest that those relationships represent some kind of ideal in the minds of those taking part.

Not even the wraparound design of certain modern auditoriums, such as Berlin's Philharmonic or Toronto's Roy Thompson Hall, can disguise the fact that a concert hall houses two separate groups of people who never meet. The technology of the concert hall has produced a gain in acoustic clarity, but that clarity is balanced by a loss of sociability. That, of course, is the way of technologies; none comes without its price. It seems that our contemporary classical music culture feels that the gain is worth the loss.

It must have been a glittering scene at night. At each compass point there is a two-storied arched and pedimented doorway, one of which has been blocked off to make a canopied orchestra platform on which Canaletto shows us, not very distinctly, an orchestra playing. It might be Mr. Handel directing one of his organ concertos or a concerto grosso; or that remarkable phenomenon, the eight-year-old Wolfgang Amadeus Mozart, presenting a piano concerto of his own composition; or the regular music director, Dr.

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