By Robert Stecker
Publish 12 months note: First released February twenty fifth 2005
Praised in its unique variation for its up to date, rigorous presentation of present debates and for the readability of its presentation, Robert Stecker's re-creation of Aesthetics and the Philosophy of paintings preserves the foremost topics and conclusions of the unique, whereas increasing its content material, supplying new gains, and embellishing accessibility. Stecker introduces scholars to the background and evolution of aesthetics, and in addition makes a huge contrast among aesthetics and philosophy of artwork. whereas aesthetics is the research of worth, philosophy of artwork bargains with a much broader array of questions together with concerns in metaphysics, epistemology, the philosophy of brain, to boot worth thought. defined as a "remarkably unified creation to many modern debates in aesthetics and the philosophy of art," Stecker focuses on sympathetically laying endure the play of argument that emerges as competing perspectives on a subject interact one another. This publication doesn't easily current an issue in its present nation of play, yet as a substitute demonstrates a philosophical brain at paintings aiding to improve the difficulty towards an answer.
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Extra resources for Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy)
Rather, the field of the aesthetic always covers more ground than just the beautiful. Indeed, precisely this incongruency prompts the aesthetic reflection to define the beautiful’s trans-aesthetic and inner-aesthetic boundaries and supplements. Alongside the danger of disgust elicited by beauty itself, this becomes especially apparent in the marked importance accorded the problem of aesthetic pleasure at unpleasant objects. From the late seventeenth-century to Dubos and Batteux, and onward to Burke, Mendelssohn, and Lessing, aesthetic theory consistently addresses the paradoxical pleasure at the representation of all sorts of horror, including the pleasure taken in the representation of ugly, gruesome, and revolting objects or events.
The unadulterated self-presence of “enjoyment of the senses” would involve its shift into the negative form of experiencing intimate presence: into disgust. As an antidote to the inherent danger of disgust, the theory of aesthetic pleasure similarly stipulates a potentially endless labor of the understanding—a labor that simultaneously figures as basis, motor, and content of aesthetic experience. Within this model, Ekel is both lower and upper limit, adversary and innate tendency of the beautiful.
On the one hand, with the great exception of Herder, eighteenth-century aesthetics aligns the experience of the beautiful with the “distance”-associated senses, considered the superior senses. To be sure, when compared with the accomplishments of the pure intellect, sight and hearing lose in clarity what they gain in sensuality and their accessibility to pleasure. But compared with the “dark” proximity-related senses of “taste, smell, and touch,” they indeed stand far closer to the “light” and “clarity” of reason.