Philosophies of Art and Beauty: Selected Readings in Aesthetics from Plato to Heidegger

by Albert Hofstadter and Richard Kuhns

Book Overview

This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0226348121
• ISBN13: 9780226348124
• Release Date: August 1976
• Publisher: University of Chicago Press
• Length: 728 Pages
• Weight: 1.53 lbs.
• Dimensions: 1.4" x 5.3" x 8.1"

Customer Reviews

Understand the philosophy of art

I read this book for a graduate seminar on the philosophy of art. This book is an excellent way to get a general idea of the vast field of philosophy of art. Aesthetics = philosophy of Art, thinking about art. Using writings from over fifty philosophers on art form Plato to Hans-Georg Gadamer gives the reader a great grounding in all of the philosophical theories of "what is art." The reader will find that how we engage art today is different then how the ancient Greeks did, art was embedded in a cultural context for them. Art was not in museums or in dance halls. Art is in a special zone of experience today in museums, etc. Tragedy for Greeks was part of their politics and religion, sculpture and painting the same way. Music until recently, (after the enlightenment) was for religion or some kind of official function. Philosophy tries to come up with theories about art; it may be a fool's errand. A set of principles that define and illuminates or explains the full measure of art is probably not attainable. However, just because a theory is wrong doesn't mean it has no value, we can draw import from all of them. By using excerpts from different philosophers the reader gets a good understanding of the major art movements, which I identify below. The "Imitation theory" of art- means it copies something in the natural world. Art refers to some objective reality outside the mind and artwork. (Plato, Aristotle). . Sometimes the imitation theory is also known as the "representational art theory" because the artwork represented something in the world but is not a simplistic idea of copying. The art forms that are most representational are representational sculpture, painting, and drama. The background and implications of the imitation theory first originated in ancient Greece. The imitation theory is the traditional theory that held sway with artists and philosophers up into the eighteenth century Romantic period in Europe. In order for one to fully grasp the meaning of the imitation theory, it is necessary to understand the nuanced meaning of the Greek word for imitation. The Greek word for imitation is mimçsis; thus, art is the imitation of nature for the Greeks. However, mimçsis is a very complex word with many nuanced meanings. It can also mean a representational copy. Plato uses it in speaking of painting. For example, if a Greek painter painted a bird that looked bird like, that would be a sense of mimçsis. Aristotle says art is an imitation of nature, but not just "copying" it. Aristotle does not mean that when art does what it does it reproduces a natural thing. Rather, what Aristotle means is that art impersonates the power of nature to produce something. Human art does something along the lines of what nature does which is very different. Nature produces a tree from out of its power of generation without any intervention from nature, a builder produces a house out of materials which requires the intervention of an agent; however, Aristotle s

Good start, but don't stop here.

This is an excellent and very well done anthology. Covering the classic readings, Croce, Plato, Ficino, Salsbury, Schelling, Dewey and others. The editors take space to introduce each selection and highlight its contribution to the field of Aesthetics. The selections are fair, even those including the existentialists, such as Nietzsche and Heidegger, who make large shifts in direction in Aesthetics. Hofstadter also contributes his own translation of Heidegger's selections and Schelling's selections. These are very good in particular.The first difficulty is that the volume fails to point to advances beyond Heidegger. No volume can contain all the imporant classical and contemporary readings, but it should have some sort of suggested reading list for newer materials. The problems of Aesthetics that have confronted the field since the 50's and 60's are just as important as the ones of ancient and medieval European culture. The problem of interpreting pure music (no lyrics) and its aesthetic effects in especially important to this field. Even Ayn Rand, who had a quick philosophical (if often flippant or facile) remark on any facet of culture, admitted she was confounded by the act of interpreting and judging pure music.To address this, the reader should also read or purchase Arthur Danto's volumes. In particular Danto has articulated the main problems of the field (such as the problem of making value judgements) and set the tone. Problems such as ethnocentrism and cultural relativism in Western Aesthetics also need to be investigated by serious students of this topic.Another issue to investigate that this volume misses is the category of the "Artist," which did not exist in ancient Greece or Rome as we know it today. In fact, the category of Artist, whether bohemian or otherwise, seems to be a fairly recent invention, and has had profound consequences for Aesthetics. To investigate this more, start by reading Flauber's novel "Sentimental Education." This staple of French literary realism will help jump start you past this anthology of philosophical readings.

The Classics of Aesthetic Literature

This anthology of aesthetic texts surveys the key figures from the classic Western tradition in aesthetics beginning with Plato. Since the book's first pulbication in 1964, Hofstadter and Kuhns have been known among theoreticians, historians, and philosophers alike for this book's remarkable contribution to the field of aesthetics. In this book, one will find selections from the ancient Greeks: Plato, Aristotle, and Plotinus; to the medieval: St. Augustine; to the Neoplatonist: Ficino; to the German Idealists: Kant, Schelling, Hegel, Schopenhauer; as well as others like: Shaftesbury, Croce, Nietzsche, Dewey, and Heidegger. This motley assortment is an indisputable must for every art historian, philosopher of art, literary critic, aesthetician, theoretician, and the general scholar. I would relish the opportunity at seeing a 21st century revision of this work; perhaps professor Kuhns may consider such a project with some of his brilliant collegues at Columbia University.