The Expression of Emotion in the Visual Arts: A Philosophical Inquiry

Tilghman, B.r.

ISBN 10: 9024750113 / ISBN 13: 9789024750115

Edité par Martinus Nijhoff, The Hague, Netherlands, 1970

A propos de cet article

Good+ wraps, clean and tight, no notes or underlining. 85pp with bibliography. "This essay is an attempt to resolve a number of philosophical problems surrounding certain facets of aesthetic experience and the descriptions that can be given of works of art, especially problems about the emotional character that can be seen in art and the use of the language of emotion to describe works of art." INSCRIBED BY THE AUTHOR: "With fond memories of 'philosophy' in Bucharest.".

N° de réf. du vendeur 001564

Détails bibliographiques

• Titre: The Expression of Emotion in the Visual Arts: A Philosophical Inquiry
• Éditeur: Martinus Nijhoff, The Hague, Netherlands
• Date de parution: 1970
• Langue: anglais
• ISBN à 10 chiffres: 9024750113
• ISBN à 13 chiffres: 9789024750115
• Reliure: Soft cover
• Édition: First Edition
• État de l'article: Good

A propos de ce titre

Synopsis

The philosophy of art, aesthetics, is here understood to be something distinct from both art appreciation and art criticism. The philosophy of art is never- theless dependent upon the existence of appreciation and criticism because it is out of reflection upon these that the uniquely philosophical problems of art arise, problems that reflect puzzlement about what is involved in under- standing, enjoying, describing, and evaluating works of art. Hence the philo- sophy of art must presuppose at least some measure of understanding and appreciation of particular works of art and if such understanding and appre- ciation are lacking the philosopher is in no position to supply them. It can- not be a philosophical task to undertake a Defense of Poesie against either the philistine or the tyrant. The philosopher is not the one to convince us that art is a Good Thing, that paintings are worth looking at, poems worth reading, and music worth listening to, if for no other reason than that philo- sophical theory and argument are no substitute for taste and sensibility. My position here is the now unexceptional one that philosophical problems are essentially conceptual problems and while the philosopher of art cannot produce aesthetic sensibility and appreciation where these do not exist, he can give us understanding of the concepts relevant to artistic appreciation and thereby help us to see our way through the conceptual confusions that have generated the philosophical puzzles surrounding art, its appreciation and criticism.