PHILOSOPHY 3322
PHILOSOPHY AND THE ARTS:
AN INTRODUCTION TO AESTHETICS
Professor E. H. Duncan
Books to Buy:
A Modern Book of Esthetics (5th edition) Rader
Philosophy of Art: Readings, Duncan
Introduction to Aesthetics, An Analytic Approach, Dickie
In this course you will read and have a chance to discuss some of the best works
ever written on the problems encountered in the philosophy of art. These writings have
been selected from various sources. No single anthology--including the ones chosen for
this course--is fully adequate.
Your grade will be determined by your class participation, grades on three hour
exams and the final exam and your grade on a 10-15 page (type-written, double-spaced)
paper, written on a subject of your own choosing. For a list of topics, see the subject
index of the Twenty Year Cumulative Index to the Journal of Aesthetics and Art
Criticism (1941-1962). There is also an updated version; the Journal of Aesthetics and
Art Criticism has published, in 1979, a Cumulative Index, Volumes I-XXXV, 1941-1977,
with a supplement added to 1982. Other references may be found under "Aesthetics" in
The Philosopher's Index, and in the "Selective Current Bibliography for Aesthetics and
Related Fields," published annually in the Summer issue of JAAC (to 1972). Finally, see
the column, "Aesthetics for Contemporary Artists," published in the Spring and Fall
issues of Leonardo, to 1983.
Some Abbreviations:
APQ
------------------
American Philosophical Quarterly
BJA
------------------
British Journal of Aesthetics
JAAC ------------------
Journal of Aesthetics and Art Criticism
JAE
------------------
Journal of Aesthetic Education
JP
------------------
Journal of Philosophy
PAS
------------------
Proceedings of the Aristotelian Society
PPR
------------------
Philosophy and Phenomenological Research
PR
------------------
Philosophical Review
ZAAK ------------------
Zeitschrift für Aesthetik und allgemeine Kunstwissenschaft
A few other books you will
want to dash out and buy:
Beardsley, Monroe C. Aesthetics: Problems in the Philosophy of Criticism,
1958, 1981.
Beardsley, Monroe C. Aesthetics from Classical Greece to the Present: a
Short History.
Osborne, Harold. Aesthetics and Art Theory: a Historical Introduction.
Dickie, George and Sclafani, R.J. and Roblin, Ronald (eds). Aesthetics: a
Critical Anthology, 2nd Edition.
Margolis, Joseph (ed). Philosophy Looks at the Arts (1st and 3rd editions).
Dickie, George. The Art Circle.
Dickie, George. Art and the Aesthetic: an Institutional Analysis.
Vivas, Eliseo and Krieger, Murray (eds). The problems of Aesthetics: a
Book of Readings.
Elton, William (ed). Aesthetics and Language.
Shields, Allan. A Bibliography of Bibliographies in Aesthetics.
Townsend, Dabney. Aesthetics: Classic Readings from the Western Tradition.
LECTURE 1: "The History of Aesthetics and the Division of Labor"
Read:
The Introductions to the Rader and Duncan volumes, and my "The Lack
of Historical Perspective in Aesthetics: the Topic Revisited"
(Duncan, Section 2).
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See Also:
Louis Arnaud Reid, "Artists, Critics, and Philosophers," in Vivas and
Krieger, pp. 19-30.
Monroe C. Beardsley, "Aesthetics, History of," in The Encyclopedia
of Philosophy, Vol. 1, pp. 18-35.
Stephen C. Pepper and Thomas Munro, article on "Aesthetics,"
Encyclopedia Britannica, 15th ed., Macropaedia, Vol. 1,
pp. 149-163.
Dickie, George, Introduction to Aesthetics, "An Historical
Introduction to Analytic Aesthetics," pp. 1-73.
Campbell Crockett, "The Lack of Historical Pespective in Aesthetics,"
JAAC, 10, 2 (Dec. 1951): 160-165.
Thomas Munro, "Editor's Comment: A College Program in Aesthetics
and the Arts," JAAC, 4, 2 (Dec. 1945): 115-118.
Allan H. Gilbert, "On 'A College Program in Aesthetics and the Arts',"
JAAC, 4, 4 (June 1946): 224-247.
Charles Edward Gauss, "On the content of a Course in Introductory
Aesthetics," JAAC, 8, 1 (Sept. 1949): 53-58.
John Henry Melzer, "On the Teaching of Aesthetics," The Personalist,
37, 2 (April 1956): 136-146.
Ruth Saw, "'Apology' for Aesthetics," BJA, 9, 4 (Oct. 1969):
321-329.
Allan Shields, "Aesthetic Studies: a College Curriculum," JAE, 4, 2
(April 1970): 133-143.
Jean G. Harrell, "Aesthetics as Philosophy," The Personalist,
53, 2 (Spring 1972): 115-126.
Richard J. Sclafani, Review of Aesthetics: An Introduction by George
Dickie, JP, 70, 10 (May 24, 1973): 303-307.
W. B. Gallie, "The Function of Philosophical Aesthetics" in Elton,
Aesthetics and Language, pp. 13-35.
Jerome Stolnitz, "Notes on Analytic Philosophy and Aesthetics," BJA,
3,3 (July 1963): 210-222.
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Bertram Jessup, "Analytic Philosophy and Aesthetics," BJA, 3, 3
(July 1963): 223-233.
J. A. Passmore, "The Dreariness of Aesthetics" in Elton, Aesthetics
and Language, pp. 36-55.
Allan Shields, "Talk About Talk About Art," JAAC, 26, 2 (Winter
1967): 187-192.
LECTURE 2: "The Play Theory and Empathy"
Read:
Theodor Lipps, "Empathy, Inner Imitation and Sense-Feelings," in
Rader, pp. 371-378.
Friedrich Schiller, "Esthetic Play and Human Liberation," in Rader,
pp. 477-483.
See Also:
I. A. Richards, Principles of Literary Criticism, ch. 31
(esp. pp. 231-234).
The Earl of Listowel, Modern Aesthetics: An Historical Introduction,
ch. 3, "The Theory of Play," pp. 23-26, and ch. 7, "The Theory of
Einfühlung," pp. 49-87.
Van Meter Ames, pp. 575-579 of Understanding the World (selection
on Einfühlung).
Ducasse, The Philosophy of Art, ch. 7.
Hilde Hein, "Play as an Aesthetic Concept," JAAC, 27, 1 (Fall
1968): 67-71.
Rene Wellek, "Vernon Lee, Bernard Berenson and Aesthetics," in his
Discriminations, pp. 164-186.
M. B. Wiseman, "Empathetic Identification," APQ, 15 (1978):
107ff.
LECTURE 3: "Psychical Distance and the Aesthetic Attitude"
Read:
Edward Bullough, "Psychical Distance," in Rader, pp. 347-362.
4
George T. Dickie, "The Myth of the Aesthetic Attitude," in
Duncan (Section 3).
See Also:
Sheila Dawson, "'Distancing' as an Aesthetic Principle," The
Australasian Journal of Philosophy, 39, 2 (Aug. 1961):
154-174.
George T. Dickie, Introduction to Aesthetics, pp. 28-37.
C. A. Mace, "The Aesthetic Attitude," BJA, 12, 3 (Summer 1972):
217-227.
Marshall Cohen, "Aesthetic Essence" in Max Black's Philosophy in
America, pp. 115-133.
My argument with Dickie in the "Letters Pro and Con" section, JAAC,
23, 4 (Summer 1965): 517-521.
Aldrich, Philosophy of Art, ch. 1.
Virgil C. Aldrich, "Back to Aesthetic Experience," JAAC, 24, 3
(Spring 1966): 364-371.
George Dickie, "Bullough and Casebier: Disappearing in the
Distance," The Personalist, 53, 2 (Spring 1972): 127-131.
George Dickie, "Psychical Distance: In a Fog at Sea," BJA, 13, 1
(Winter 1973): 17-29.
Jerome Stolnitz, "The Artistic and the Aesthetic" in Perspectives
in Education, Religion, and the Arts, ed. by Kiefer and
Munitz, pp. 266-294.
James L. Jarrett, "On Psychical Distance," The Personalist, 52,1
(Winter 1971): 61-69.
Allan Casebier, "The concept of Aesthetic Distance," The Personalist,
52, 1 (Winter 1971): 70-91.
Timothy J. Reiss, "Psychical Distance and Theatrical Distance in
Sartre's Drama," Yale French Studies, 46 (1971): 5-16.
G. Dickie, "Taste and Attitude: The Origin of the Aesthetic,"
Theoria, 39 (1973): 153ff.
5
F. Kovach, "Aesthetic Disinterestedness in Premodern Thought,"
Southwestern Journal of Philosophy, 5 (1974): 59ff.
R. McGregor, "Art and the Aesthetic," JAAC, 32 (1974): 549ff.
J. Kupperman, "Art and Aesthetic Experience," BJA, 15 (1975):
29ff.
D. J. Crossley, "The Aesthetic Attitude: Back in Gear with
Bullough," The Personalist, 56 (1975): 336ff.
S. Pandit, "In Defense of Psychical Distance," BJA, 16 (1976):
56ff.
K. Price, "The Truth About Psychical Distance," JAAC, 35 (1977):
411ff.
J. Stolnitz, "'The Aesthetic Attitude' in the Rise of Modern
Aesthetics," JAAC, 36 (1978): 409ff.
J. Stolnitz, "The Artist and the Aesthetic in 'Interesting
Times'," JAAC, 37, 4 (Summer 1979): 401-413.
Gary Kemp, "The Aesthetic Attitude," BJA, 39, 4 (October 1999):
392-399.
LECTURE 4: "The Institutional Theory of Art"
Read:
George Dickie, "What is Art? An Institutional Analysis" in
Rader, pp. 459-472.
V. Mendenhall, “Dickie and Cohen on What Art Is,” in Duncan, (Section 4).
See Also:
Ted Cohen, "The Possibility of Art" in Margolis, pp. 186-202.
G. Dickie, "A Response to Cohen: the Actuality of Art," in
Dickie and Sclafani, pp. 196-200.
George Dickie, "Art As a Social Institution," ch. 11,
Aesthetics: an Introduction, pp. 98-108.
G. Dickie, "The Institutional Conception of Art," in Language
and Aesthetics, ed. by Benjamin Tilghman, pp. 21-30.
6
M. H. Mitias, "Art as a Social Institution," The Personalist, 56
(1975): 330ff.
A. Silvers, "The Artworld Discarded," JAAC, 34 (1976): 441ff.
M. Mitias, "The Institutional Theory of the Aesthetic Object," The
Personalist, 58 (1977): 147ff.
R. J. Yanal, "The Institutional Theory of the Aesthetic Object:
a Reply to Michael Mitias," The Personalist, 58 (1977): 156ff.
R. Cormier, "Art as a Social Institution," The Personalist, 58
(1977): 161ff.
R. McGregor, "Dickie's Institutionalized Aesthetic," BJA, 17
(1977): 3ff.
J. E. Bachrach, "Dickie's Institutional Definition of Art:
Further Criticism," JAE, 11 (July 1977): 25ff.
Carolyn Korsmeyer, "On Distinguishing 'Aesthetic' from 'Artistic',"
JAE, 11 (Oct. 1977): 45ff.
V. C. Aldrich, "McGregor on Dickie's Institutionalized Aesthetic,"
JAAC, 36 (1977): 213ff.
D. Townsend, "Phenomenology and the Definition of Art, "Southwestern Journal of Philosophy, 8 (1977): 133ff.
Morris Weitz, The Opening Mind: a Philosophical Study of
Humanistic Concepts, pp. 81-90.
Michael D. Beaty, "The Institutional Theory of Art Examined,"
critical paper written for the Master's Degree in Philosophy,
Baylor University, June, 1975.
George Dickie, The Art Circle: A Theory of Art, 1984.
Stephen Davies, "A Defense of the Institutional Theory of Art,"
The Southern Journal of Philosophy, Vol. XXVI, No. 3
Fall, 1988, pp. 307-324.
George Dickie, "The New Institutional Theory of Art," in
Dickie, Sclafani, and Roblin, eds., Aesthetics, a Critical
Anthology, 2nd ed., pp. 196-205.
7
Robert Stecker, "The End of an Institutional Definition of Art,"
in Dickie, Sclafani and Roblin, pp. 206-213, and Dickie's
"Reply to Stecker," pp. 214-217.
Robert Yanal, ed., Institutions of Art: Reconsiderations of
George Dickie's Philosophy
George Dickie, “The Institutional Theory of Art,” Chapter 8 of
Introduction to Aesthetics, pp. 82-93.
LECTURE 5: "Art as Pleasure Objectified"
Read:
George Santayana, "The Nature of Beauty," in Rader, pp. 162-181.
See Also:
Willard E. Arnett, Santayana and the Sense of Beauty, ch. 2.
Beardsley, Aesthetics, a Short History, pp. 328-332.
George Boas, "Santayana and the Arts" in Schilpp (ed), The
Philosophy of George Santayana, pp. 241-261 (Santayana
replies, pp. 554-560).
Timothy L. S. Sprigge, Santayana, an Examination of His
Philosophy.
Frederick A. Olafson, Article on Santayana in the Encycylopedia of
Philosophy.
The biography by John McCormick, ch. 9, pp. 123-139.
The critical edition of The Sense of Beauty has an Introduction
by Arthur Danto, pp. xv-xxviii.
Jerome Ashmore, Santayana, Art, and Aesthetics.
LECTURE 6: "Bergson?"
Read:
Henri Bergson, "The Individual and the Type," in Rader, pp.
73-80.
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See Also:
Susanne K. Langer, Feeling and Form, ch. 7, pp. 104-119.
Gabriel Marcel, "Bergsonism and Music" in Reflections on Art,
ed. by S. K. Langer, pp. 142-151.
T. Mitchell, "Bergson, Le Bon and Hermitic Cubism," JAAC, 36
(1977): 175ff.
T. A. Goudge, article on Bergson in The Encyclopoedia of Philosophy.
T. E. Hulme, "Bergson's Theory of Art," in his Speculations,
pp. 141-169.
T. E. Hulme, "A Personal Impression of Bergson" in The Life and
Opinions of T. E. Hulme, edited by A. R. Jones, pp. 205-208,
plus Jones' chapter on "H. Bergson," pp. 57-67.
Ruth Lorand, "Bergson's Concept of Art," BJA, 39, 4 (October 1999):
400-415.
And for lots more, see the Bibliography (see appendix "C" below) by P. A. Y. Gunter.
LECTURE 7: "Art as Experience"
Read:
John Dewey, "Having an Experience," in Rader, pp. 137-151.
Dorothy Walsh, "Virtual Experience," in Rader, pp. 151-159.
Van Meter Ames, "John Dewey as Aesthetician," in Duncan, (Section 5).
See Also:
Robert Newman Glass, “Theory and Practice in the Experience of
Art: John Dewey and the Barnes Foundation,” JAE, 6,3 (Fall 1997):
pp. 91-105.
Bertram Morris, "Dewey's Theory of Art," in Guide to the Works
of John Dewey, ed. by Jo Ann Boydston, pp. 156-182.
Stephen C. Pepper, "Some Questions on Dewey's Esthetics" in
Schilpp's The Philosophy of John Dewey, pp. 369-389 (Dewey
replies, pp. 549-554).
Edward G. Ballard, "An Estimate of Dewey's Art as Experience,"
Tulane Studies in Philosophy, 4 (1955): 5-18.
9
Benedetto Croce, "On the Aesthetics of Dewey," JAAC, 6, 3
(March 1948): 203-207. ("A Comment on the Foregoing
Criticism" by John Dewey, pp. 207-209.)
Benedetto Croce, "Dewey's Aesthetics and Theory of Knowledge,"
JAAC, 11, 1 (Sept. 1952): 1-6.
George H. Douglas, "A Reconsideration of the Dewey-Croce Exchange,"
JAAC, 28, 4 (Summer 1970): 497-504.
John Dewey, Review of A History of Aesthetics by Bernard Bosanquet,
PR, 2, 1 (Jan. 1893): 63-69.
George H. Mead, "The Nature of Aesthetic Experience," The
International Journal of Ethics, 36, 4 (July 1929): 382-393.
D. W. Gotshalk, "On Dewey's Aesthetics," JAAC, 23, 1 (Fall 1964):
131-138.
Beardsley, Aesthetics, A Short History, pp. 332-342.
Ducasse, The Philosophy of Art, ch. 6.
Donald B. Kuspit, "Dewey's Critique of Art for Art's Sake," JAAC,
27, 1 (Fall 1968): 93-98
Bertram Morris, "Dewey's Aesthetics: The Tragic Encounter with
Nature," JAAC, 30, 2 (Winter 1971): 189-196.
C. M. Smith, "The Aesthetics of John Dewey and Aesthetic Education," in Aesthetics and Problems of Education, ed. by Ralph
A. Smith, pp. 64-85.
L. J. Dennis and J. F. Powers, "Dewey, Maslow, and Consummatory Experience," JAE, 8 (Oct. 1974): 51ff.
S. Buettner, "John Dewey and the Visual Arts in America" JAAC,
33 (1975): 383ff.
M. R. Kadish, "John Dewey and the Theory of Aesthetic Practice," in New
Studies in the Philosophy of John Dewey, ed. by S. M. Cahn, pp. 75ff.
10
Dewey and His Critics: Essays from the Journal of Philosophy, edited
by Sidney Morganbesser, The Journal of Philosophy, Inc.,
New York, 1944, has two essays on "Dewey's Esthetic Theory"
(both from 1935) by E. H. Shearer, plus another on "Art as
Cognitive Experience" (1953) by James L. Jarrett.
Thomas M. Alexander,"The Art of Life: Dewey's Aesthetics," in Reading
Dewey, Interpretations for a Postmodern Generation, edited by
Larry A. Hickman, pp. 1-22.
And see the volumes on Dewey by Tiles and Westbrook.
LECTURE 8: "Art as Intuition"
Read:
Benedetto Croce, "Intuition and Expression," in Rader, pp. 80-87.
See Also:
Gilbert and Kuhn, A History of Esthetics (rev.), pp. 550-556.
Beryl Lake, " A Study of the Irrefutability of Two Aesthetic
Theories," in Elton, Aesthetics and Language, pp. 110-113.
George Dickie, Introduction to Aesthetics, pp.62-69.
Bernard Bosanquet, "The Esthetic Attitude and Its Embodiments,"
in Rader, pp. 195-200.
Curt Ducasse, The Philosophy of Art, ch. 3.
Beardsley, Aesthetics, a Short History, pp. 318-324.
John Hospers, "TheCroce-Collingwood Theory of Art," Philosophy,
31, 119 (Oct. 1956): 291-308.
Peter Jones, "A Critical Outline of Collingwood's Philosophy of
Art," in Critical Essays on the Philosophy of R. G.
Collingwood, ed. by Michael Krausz, pp. 42-67.
Richard Wollheim, "On an Alleged Inconsistency in Collingwood's
Aesthetic," ibid., pp. 68-78.
Angelo A. de Gennaro, "Vico and Croce: The Genesis of Croce's
Aesthetics," The Personalist, 50, 4 (Autumn 1969): 508-525.
11
Merle E. Brown, Neo-Idealistic Aesthetics: Croce-GentileCollingwood.
George H. Douglas, "Croce's Expression Theory of Art Revisited," The Personalist, 54 (Winter 1973): 60-70.
P. G. Ingram, "Art, Language and Community in Collingwood's
Principles of Art," JAAC, 37 (1978): 53ff.
Aaron Ridley, “Not Ideal: Collingwood’s Expression Theory,”
JAAC, 55, 3 (Summer 1997): 263-272.
LECTURE 9: "The Mystery of Creation"
Read:
Monroe C. Beardsley, "On the Creation of Art," in Duncan, (Section 6).
See Also:
Vincent Tomas, “Creativity in Art," in his anthology, Creativity
in the Arts, pp. 97-109 (all of the selections in this volume
are relevant).
Jack Glickman, "Creativity in the Arts," in Margolis, pp. 169-185.
Henry James, "The 'Germ' of a Story" and "The Art of Fiction," in
Vivas and Krieger, pp. 118-125.
Carl R. Hausman, "Mechanism or Teleology in the Creative Process,"
JP, 58, 20 (Sept. 28, 1961): 577-584.
Vincent Tomas, "A Note on Creation in Art," JP, 59, 17
(Aug. 16, 1962): 464-469.
Donald F. Henze, "Logic, Creativity and Art," The Australasian
Journal of Philosophy, 40, 1 (May 1962): 24-34.
Donald Brook and Maxwell Wright, "Henze on Logic, Creativity, and
Art," The Australasian Journal of Philosophy, 41, 3
(Dec. 1963): 378-385.
Donald F. Henze, "Creativity and 'Create': A Rejoinder to Brook
and Wright," The Australasian Journal of Philosophy, 42, 1
(May 1964): 103-109.
Donald F. Henze, "Creativity and Prediction," BJA, 6, 3 (July
1966): 230-245.
12
Gordon Westland, "The Investigation of Creativity," JAAC, 28, 2
(Winter 1969): 127-131.
Gordon Westland, "Selection and Education for Creativity," BJA,
10, 2 (April 1970): 152-161.
W. E. Kennick, "Creative Acts," Perspectives in Education,
Religion, and the Arts, ed. by Kiefer and Munitz, pp. 238-261.
Jack Glickman, "On Creating (A Response)," ibid., pp. 262-265.
H. R. Nardow, "Creativity in Art and Ethics," JAAC, 34 (1975): 183ff.
H. Khatchadourian, "The Creative Process in Art," BJA, 17 (1977): 230ff.
H. Osborne, "Inspiration," BJA, 17 (1977): 242ff.
M. N. Mitias, "The Institutional Theory of Artistic Creativity,"
BJA, 18 (1978): 330ff.
Harold Osborne, "The Concept of Creativity in Art," BJA, 19, 3
(Summer 1979): 224-231.
LECTURE 10: "Apollinian and Dionysian"
Read:
Friedrich Nietzsche, "Apollinian and Dionysian Art" in Rader, pp. 91-108.
See Also:
Salim Kemal, Joan Gaskell, and Daniel W. Conway, Nietzsche, Philosophy
and the Arts, Cambridge, 1998.
Kaufmann, Nietzsche, ch. 6.
Beardsley, Aesthetics, A Short History, pp. 275-279.
Gilbert and Kuhn, A History of Esthetics, pp. 516-523.
E. M. Butler, "The Dionysiac: Friedrich Nietzsche [1844-1900],"
in The Tyranny of Greece over Germany, pp. 307-315.
Santayana, The German Mind, ch. 11-13, pp. 114-143.
Edward F. Mooney, "Nietzsche and the Dance," Philosophy Today,
14, 1 (Spring 1970): 38-43.
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John Sallis, "The Play of Tragedy," Tulane Studies in Philosophy,
19 (1970): 89-108.
Richard Schacht, "Nietzschean Art in The Birth of Tragedy" in
Dickie and Sclafani, pp. 269-312.
Check also books in the bibliography on Nietzsche by Macintyre,
Solomon and Higgins, and Silk and Stern.
LECTURE 11: "Psychology and Aesthetics"
Read:
Sigmund Freud, "Wish-Fulfillment and the Unconscious" in Rader,
pp. 108-120.
See Also:
Douglas Morgan, "Psychology and Art Today" in Vivas and Krieger, pp. 30-47.
George T. Dickie, "Is Psychology Relevant to Aesthetics?", PR,
71, 3 (July 1962): 285-302.
Campbell Crockett, "Psychoanalysis in Art Criticism," JAAC,17, 1
(Sept. 1958): 34-44.
Paul Grimley Kuntz, "The Hidden Order of Anton Ehrenzweig: A
Review Article," JAAC, 27, 3 (Spring 1969): 349-360.
(Includes an extensive bibliography.)
C. A. Mace, "Psychology and Aesthetics," in Aesthetics in the
Modern World, ed. by Harold Osborne, pp. 283-299.
Richard Wollheim, "Freud and the Understanding of Art," BJA, 10, 3
(July 1970): 211-224.
R. W. Pickford, "Dream-Work, Art-Work, and Sublimation in Relation
to the Psychology of Art," BJA, 10, 3 (July 1970): 275-283.
Harold James McWhinnie, "Is Psychology Relevant to Aesthetics?
(George Dickie-Revisited),{ Proceedings of the Annual
Convention of the American Psychological Association, 6, 1
(1971): 419-420.
J. K. Feibleman, "The Psychology of Artistic Endeavor," Scientific
Aesthetics, 1 (1976): 35ff.
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H. Gardner, "Challenges for a Psychology of Art," Scientific
Aesthetics, 1 (1976): 19ff.
LECTURE 12: "Is There an Aesthetic Experience?"
Read:
Monroe C. Beardsley, "The Aesthetic Point of View," in Duncan,
(Section 7).
See Also:
The symposium involving J. O. Urmson and David Pole, "What Makes a
Situation Aesthetic?" in PAS, Supp. 31 (1957): 75-106.
Margolis, The Language of Art and Art Criticism, chs. 1-2.
R. K. Elliott, "Aesthetic Theory and the Experience of Art," in
Margolis, (2nd ed.), pp. 45-57.
George Dickie, "Beardsley's Phantom Aesthetic Experience," JP, 62,
5 (March 6, 1965): 129-136.
Monroe C. Beardsley, "Aesthetic Experience Regained," JAAC,
28, 1 (Fall 1969): 3-11.
J. N. Findlay, "The Perspicuous and the Poignant," BJA, 7, 1
(Jan. 1967): 3-19.
H. W. Janson, “Comments on Beardsley’s ‘The Aesthetic Point of View,’”
Metaphilosophy, 1,1 (Jan. 1970): 59-62, and Beardsley’s “Reply
to Professor Janson,” 63-65.
Kingsley Price, "What Makes an Experience Aesthetic?", BJA, 19, 2
(Spring 1979): 131-143.
LECTURE 13: "Can 'Art' Be Defined?"
Read:
Morris Weitz, "The Role of Theory in Aesthetics" in Rader, pp. 434-443.
See Also:
Richard Kamber, “Weitz Reconsidered: A Clearer View of Why
Theories of Art Fail,” BJA, 38, 1 (January 1998): pp. 33-46.
Ludwig Wittgenstein, "Games and Definitions" in Rader, pp. 430-434.
15
Maurice Mandelbaum, "Family Resemblances and Generalization
Concerning the Arts" in Rader, pp. 444-458.
Margolis, The Language of Art and Art Criticism, ch. 3.
Lee B. Brown, "Definitions and Art Theory," JAAC, 27, 4 (Summer
(1969): 409-415.
George Dickie, "Defining Art," APQ, 6, 3 (July 1969): 253-256.
Frank Sibley, "Is Art an Open Concept?, An Unsettled Question,"
Proceedings of the IV International Congress of Aesthetics,
1960, pp. 545, 548.
"On Arts and the Definition of Arts, a Symposium," Monroe C.
Beardsley, "The Definitions of Arts," pp. 175-187; Douglas N.
Morgan, "Art Pure and Simple," pp. 187-195; and Mary
Mothersill, "Critical Comments," pp. 195-198, JAAC, 20, 2
(Winter, 1961).
Erich Kahler, "What is Art?", in Problems in Aesthetics (1st ed.),
edited by Morris Weitz, pp. 157-171.
Joseph Margolis, "Mr. Weitz and the Definition of Art" in Problems
in Criticism of the Arts, edited by Holley Gene Duffield,
pp. 226-235.
Lewis K. Zerby, "A Reconsideration of the Role of Theory in
Aesthetics--a Reply to Morris Weitz," in Duffield, pp.
236-239.
Arnold Berleant, "A Note on the Problem of Defining Art," in
Duffield, pp. 240-242.
R. E. Racy, "The Aesthetic Experience,"BJA, 9, 4 (Oct. 1969):
345-352.
John Clammer, "On Defining the Aesthetic Experience," BJA, 10,
2 (April 1970): 147-151.
R. T. Allen, "The Aesthetic Experience Again," BJA, 10, 4
(Oct. 1970): 344-349.
Richard Sclafani, "'Art' and Artifactuality," The Southwestern
Journal of Philosophy, 1, 3 (Fall 1970): 103-110.
16
Lee B. Brown, "Traditional Aesthetics Revisited," JAAC, 29, 4
(Spring 1973): 343-351.
Wladaslaw Tatarkiewicz, "What is Art? The Problem of Definition
Today," BJA, 11, 2 (Spring 1971): 134-153.
Berel Lang, "'What is Art': Questions (and Answers) About the
Question," PPR, 33, 4 (June 1973): 524-530.
B. R. Tilghman, "Wittgenstein, Games and Art," JAAC, 31, 4
(Summer 1973): 517-524.
T. J. Diffey, "Essentialism and the Definition of 'Art'," BJA,
13, 2 (Spring 1973): 103-120.
Morris Weitz, "Wittgenstein's Aesthetics" in Language and
Aesthetics, edited by Benjamin Tilghman, pp. 7-19.
Morris Weitz, ch. 2 on "Open Concepts" (pp. 25-48), ch. 3 on
"Art" (pp. 49-90) in his The Opening Mind: a Philosophical
Study of Humanistic Concepts.
R. B. Edlow, "On Definition and Evaluation of Works of Art,"
Southern Journal of Philosophy, 13 (1975): 281ff.
M. H. Snoeyenbos, "Art: Theory and Definition," Southern
Journal of Philosophy, 14 (1977): 227ff.
T. R. Martland, "Art?", APQ, 15 (1978): 229ff.
The papers in the Curtler volume, What is Art?, are all relevant,
especially the lead essay by Monroe Beardsley, "An Aesthetic
Definition of Art."
George T. Dickie, Introduction to Aesthetics, pp. 69-73.
LECTURE 14: "The Work of Art"
Read:
Stephen C. Pepper, "Contextualistic Criticism," in Rader, pp. 404-416.
Stephen C. Pepper, "What is a Work of Art?", in Duncan, (Section 9).
See Also:
Carola Giedeon-Welcker, "Court Proceedings Brought Against New
York Customs Officials," in Constantin Brancusi, pp. 212-217.
17
Stanley Cavell, "Music Discomposed"; comments by Margolis and
Beardsley, Rejoinder by Cavell, in Art, Mind and Religion,
edited by Capitan and Merrill, pp. 69-132.
Van Meter Ames, "Is it Art?", JAAC, 30, 1 (Fall 1971): 39-48.
B. R. Tilghman, "Aesthetic Perception and the Problem of the
'Aesthetic Object'," Mind, 75, 229, (July 1966): 351-367.
Donald F. Henze, "Is the Work of Art a Construct? A Reply to
Professor Pepper," JP, 52, 16 (Aug. 4, 1955): 433-439.
Stephen C. Pepper, "Autobiography of an Aesthetics," JAAC, 28 3
(Spring 1970): 275-286.
My "Stephen C. Pepper: a Bibliography," ibid., pp. 287-294.
William B. Fritter, "Is Wine an Art Object?", JAAC, 30, 1 (Fall
1971): 97-100.
Michael Mitias, "Is Wine an Art Object?", The Personalist, 54
(Spring 1973): 188-191.
Special double issue of Paunch, no. 53-54 (1980) on the work of
S. C. Pepper.
Special double issue of The Journal of Mind and Behavior, 3,
3-4 (Summer and Autumn 1984) on the work of S. C. Pepper.
LECTURE 15: "Significant Form"
Read:
Clive Bell, "Significant Form," in Rader, pp. 287-297.
See Also:
Eva Schaper, "Significant Form" Proceedings of the IV International Congress on Aesthetics, Athens, 1960, pp. 739-742.
Dickie, Introduction to Aesthetics, pp. 53-58.
Articles by Read, Elliot, Meager, Osborne and Dickie, BJA, 5, 2
(April 1965).
Rosalind Edman, "The Paradoxes of Formalism," BJA, 10, 4 (Oct. 10,
1970): 350-358.
18
C. J. Ducasse, "Significant Form" in his Philosophy of Art,
pp. 309-316.
Of related interest, see my "Has Anyone Committed the Naturalistic Fallacy?", The Southern Journal of Philosophy, 8, 1
(Spring 1970): 49-55.
William G. Bywater, Jr., Clive Bell's Eye (1975).
T. M. McLaughlin, "Clive Bell's Aesthetic: Tradition and Significant Form," JAAC, 35 (1977): 433ff.
D. G. Taylor, "The Aesthetic Theories of Roger Fry Reconsidered,"
JAAC, 36 (1977): 63ff.
Noel Carroll, "Clive Bell's Aesthetic Hypothesis," in Dickie, Sclafani
and Roblin, Aesthetics, a Critical Anthology, 2nd ed., pp. 84-95.
Carol S. Gould, "Clive Bell on Aesthetic Experience and Aesthetic
Truth," BJA, Vol. 34, No. 3, April, 1994, pp. 124-133.
LECTURE 16: "Aesthetic Surface"
Read:
My "The Aesthetic Works of D. W. Prall: A Review Article," in Duncan,
(Section 10) (with a bibliography on Prall).
W. H. Werkmeister, "Prall's Aesthetically Oriented Theory," in Duncan,
(Section 11).
See Also:
Henry David Aiken, "Art as Expression and Surface," JAAC, 4, 2
(Dec. 1945): 87-95.
George Dickie, "Reconsiderations 6. D. W. Prall, Aesthetic
Judgement," JAAC, 42, 2, (Fall 1983): 83-85.
Richard McCarty, "The Thick and Thin of David Prall's Aesthetics,"
The Southern Journal of Philosophy, 24, 1 (Spring, 1986): 133139.
My "Toward Root Metaphor: Pepper's Writings in the University of
California Publications in Philosophy,” The Journal of Mind and
Behavior, Vol 3, No. 4, Autumn, 1982, pp. 375-380.
19
LECTURE 17: "Art as Expression--I"
Read:
The Essays by Veron, Tolstoy and Ducasse in Rader, pp. 50-70.
See Also:
Monroe C. Beardsley, "The Aesthetic Problem of Justification,"
JAE, 1, 2 (Autumn 1966): 29-39.
Beardsley, Aesthetics, Problems, ch. 12, 3sp. pp. 564-571.
Beardsley, Aesthetics, History, pp. 308-313.
Ducasse, The Philosophy of Art, ch. 2.
Don Gieger, "Tolstoy as a Defender of a 'Pure Art' that Unwraps
Something," JAAC, 20, 1 (Fall 1961): 81-89.
Iredell Jenkins, "From Imitation to Expression to Abstraction to
Psychologism--to Expression!", The Southern Journal of
Philosophy, 7, 3 (Fall 1969): 297-305.
Edward S. Casey, "Expression and Communication in Art," JAAC, 30, 2
(Winter 1971): 197-207.
C. Daniels, "Tolstoy and Corrupt Art," JAE, 8 (1974): 41ff.
G. R. Jahn, "The Aesthetic Theory of Leo Tolstoy's What is Art?",
JAAC, 34 (1975): 59ff.
Stanley Bates, "Tolstoy Evaluated: Tolstoy's Theory of Art," in
Dickie and Sclafani, pp. 83-93.
Aylmer Maude, Tolstoy on Art.
LECTURE 18: "Art as Expression--II"
Read:
O. K. Bouwsma, "The Expression Theory of Art," in Duncan, (Section 12).
See Also:
Vincent Tomas, "The concept of Expression in Art," (with responses
by Douglas Morgan and Monroe Beardsley) in Artistic
Expression, edited by John Hospers, pp. 250-287 (all of the
essays in this volume are relevant).
20
Alan Tormey, "Art and Expression: a Critique," in Margolis,
pp. 421-437.
Dickie, Introduction to Aesthetics, pp. 120-124.
R. K. Elliot, "Aesthetic Theory and the Experience of Art," PAS, 67
(1966-67): 111-126.
M. Barasch, "Mode and Expression in Meyer Schapiro's Writings on
Art," Social Research, 45 (1978): 52ff.
LECTURE 19: "Art as Language--I"
Read:
E. H. Gombrich, "Truth and the Stereotype" in Rader, pp. 33-47.
See Also:
Mary Mothersill, "Is Art a Language?", JP, 62, 20 (Oct. 21, 1965):
559-572 (followed by abstracts of replies by Virgil C. Aldrich
and Vincent Tomas).
Virgil C. Aldrich, "Mothersill and Gombrich on 'The Language of
Art'," BJA, 8, 4 (Oct. 1968): 359-364.
Carolyn Korsmeyer, "Pictures and the Relativity of Perception,"
The Personalist, 60, 3 (July 1979): 290-297.
Daniel Drake Reiff, "The Scope and Impact of the Study of Art
History as Offered by the Baylor Department of Art," The
Baylor Line, 30, 1 (Jan.-Feb. 1968): 30-32.
Charles W. Morris, "Science, Art and Technology" in Vivas and
Krieger, pp. 105-115.
Richard Wollheim, "Art and Illusion," in Aesthetics in the Modern
World, edited by Harold Osborne, pp. 235-263.
Charles W. Morris, "Esthetics and the Theory of Signs," The Journal
of Unified Science (Erkenntnis), 8, 1-3 (June 1, 1939):
131-150.
Charles Morris and David J. Hamilton, "Aesthetics, Signs, and
Icons," PPR, 25, 3 (March 1965): 356-364.
21
Charles Morris, "Significance, Signification, and Painting," in
Lepley, The Language of Value, pp. 58-76 (Comments by Ian
McGreal, pp. 274-277, Response by Morris, pp. 277-280).
Louis Nisbet Roberts, "'Art as Icon', an Interpretation of C.
W. Morris," Tulane Studies in Philosophy, 4 (1955): 75-82.
LECTURE 20: "Art as Language--II"
Read:
Susanne K. Langer, "Expressiveness and Symbolism" in Rader, pp. 240-254.
See Also:
Ernest Nagel, Review of Langer, Philosophy in a New Key, JP, 40,
12 (June 10, 1943): 323-329.
Dickie, Introduction to Aesthetics, pp. 58-62.
Charles L. Stevenson, "Symbolism in the Nonrepresentational Arts,"
in Henle, Language, Truth and Culture, pp. 196-225.
M. Macdonald, Review of Feeling and Form, Mind, 64, 256 (Oct.
1955): 549-553.
Joseph Margolis, Review of Feeling and Form, JP, 52, 11 (May 26,
1954): 291-296.
Berel Lang, "Langer's Arabesque and the Collapse of the Symbol,"
The Review of Metaphysics, 16, 2 (Dec. 1962): 349-365.
Herbert Read, "Describing the Indescribable," Review of Langer's
Mind: An Essay on Human Feeling, Saturday Review, July 15,
1967, pp. 32-33.
Other reviews of Mind: An Essay on Human Feeling were written by:
Melvin Rader, JAAC, 26, 4 (Summer 1968): 543-545; F. E.
Sparshott, JAE, 2, 3 (July 1968): 135-137; Cyril Barrett, The
Philosophical Quarterly, 19, 75 (April 1969): 187-189; V. J.
McGill, PPR, 29, 1 (Sept. 1968): 141-143; Morris Weitz, PR, 78,
4 (Oct. 1969): 525-528.
Peter A. Bertocci, "Susanne K. Langer's Theory of Feeling and
Mind," The Review of Metaphysics, 23, 3 (March 1970): 527-551.
Louis Arnaud Reid, "Susanne Langer and Beyond," BJA, 8, 4 (Oct.
1965): 357-367.
22
Louis Arnaud Reid, "New Notes on Langer," BJA, 8, 4 (Oct. 1968):
353-358.
Forest Hanson, "Langer's Expressive Form: An Interpretation,"
JAAC, 27, 2 (Winter 1968): 165-170.
Thomas Binkley, "Langer's Logical and Ontological Modes," JAAC, 28
4 (Summer 1970): 455-464.
Richard Courtney, "On Langer's Dramatic Illusion," JAAC, 29, 1
(Fall 1970): 11-20.
Errol E. Harris, Review article on Langer's Mind: An Essay on
Human Feeling, The Journal of Value Inquiry, 4, 4 (Winter
1970): 308-313.
Samuel Bufford, "Susanne Langer's Two Philosophies of Art," JAAC,
31, 1 (Fall 1972): 9-20.
Eva Schaper, "Cosmic Biology and the 'Great Shift'" (Review of
Langer's Mind, Vol. 2), Inquiry, 17, 3 (Autumn 1974): 366-369.
Garry Hagberg, "Art and the Unsayable: Langer's Tractarian
Aesthetics," BJA, 24, 4 (Autumn 1984): 325-340.
Sister Mary Francis Slattery, "Looking Again at Susanne Langer's
Expressionism," BJA, 27, 3 (Summer 1987): 247-258.
Actually, one of the best bibliographies I've seen on Langer was
done by one of our Baylor Honors Program students in a senior
essay some years ago: Patrick M. Conoley, Around and About the
Work of Susanne K. Langer, 1972.
LECTURE 21: "Art as Language--III"
Read:
Nelson Goodman, "Art and Inquiry," in Duncan, (Section 8).
See Also:
Richard Wollheim, "On Drawing an Object" in Margolis, 2nd ed.
pp. 249-272.
Nelson Goodman, "Reality Remade" In Margolis, pp. 283-306
(actually all of the papers in this section are relevant).
23
Patrick Maynard, "Depiction, Vision and Convention," in Margolis,
(2nd ed.) pp. 273-288.
There have been at least two "special issues" in journals devoted
to Goodman's Languages of Art--The Monist, 58, 2 (April 1974),
has fourteen papers on the topic. See esp. Joseph Margolis, “Art
As Language,” (reprinted in Duncan, Section 13). Erkenntnis
devoted two issues to Goodman; 1 and 2 of vol. 12 of 1978 (No. 1
has several papers on Languages of Art).
Richard Wollheim, "Nelson Goodman's Languages of Art," JP, 67, 16
(Aug. 20, 1970): 531-539.
Benjamin Boretz, "Nelson Goodman's Languages of Art from a Musical
Point of View," ibid., pp. 540-552.
Barbara Herrnstein Smith, "Literature as Performance, Fiction and
Art," ibid., pp. 553-563.
Nelson Goodman, "Some Notes on Languages of Art," ibid., pp. 563-573.
Monroe C. Beardsley, Review of Languages of Art, Philosophy of
Science, 37, 3 (Sept. 1970): 458-463.
C. M. Smith, "Symbolic Systems, Cognitive Efficacy, and Aesthetic
Education" (Review Article on Languages of Art), JAE 3, 4
4 (Oct. 1969): 123-136.
Joseph Margolis, "Numerical Identity and Reference in the Arts,"
BJA, 10, 2 (April 1970): 138-146.
A. G. Playdell-Pearce, Review of Languages of Art, ibid., pp.
191-194.
C. F. Presley, Critical Notice of Languages of Art, Australasian
Journal of Philosophy, 48, 3 (Dec. 1970): 373-393.
Anthony Savile, "Nelson Goodman's Languages of Art: a Study," BJA,
11, 1 (Winter 1971): 3-27.
B. A. Howard "Harvard Project Zero: a Fresh Look at Art Education," JAE, 5, 1 (Jan. 1971): 61-73.
Matthew Lipman, Review of Goodman's Languages of Art, Man and
World, 3 (May 1970): 147-150.
24
Morris Weitz, "Professor Goodman on the Aesthetic," JAAC, 29, 4
(Summer 1971): 483-487.
William E. Webster, "Music is not a Notational System," ibid., pp.
489-497.
V. A. Howard, "On Musical Expression," BJA, 11, 3 (Summer 1971):
268-280.
James W. Manns, "Representation, Relativism and Resemblance," BJA,
11, 3 (Summer 1971): 281-287.
Kendall L. Walton, "Languages of Art: An Emendation," Philosophical Studies, 22, 5-6 (Oct.-Dec. 1971): 82-85.
B. C. Oneill, Critical Study of Languages of Art, Philosophical
Quarterly, 21 (Oct. 1971): 361-372.
Paul Ziff, "Goodman's Languages of Art," PR, 80, 4 (Oct. 1971):
509-515.
Cyril Barrett, Review of Languages of Art, British Journal for the
Philosophy of Science, 22, 2 (May 1971): 187-198.
Nelson Goodman, David Perkins and Howard Gardner (eds.), Harvard
Project Zero: Basic Abilities Required for Understanding and
Creation in the Arts (Graduate School of Education, Harvard
University, 1972).
Richard Peltz, "Nelson Goodman on Picturing, Describing, and
Exemplifing," JAE, 6 (July 1972): 71-86.
Anthony Ralls, "The Uniqueness and Reproducibility of a Work of
Art: a Critique of Goodman's Theory," The Philosophical
Quarterly, 22, 1 (Jan. 1972): 1-18.
N. G. B. Harris, "Goodman's Account of Representation." JAAC, 21,
3 (Spring 1973): 323-327.
H. Gardner, "Challenges for a Psychology of Art," Scientific
Aesthetics, 1 (1976): 1ff.
W. Charlton and Anthony Savile, "The Art of Apelles," PAS, Supp.
Vol. 53 (1979): 167-206.
George Dickie, Introduction to Aesthetics, pp. 152-156.
25
LECTURE 22: "The Artist's Intention"
Read:
William K. Wimsatt, Jr. and Monroe C. Beardsley, "The Intentional
Fallacy," in Duncan, (Section 14).
See Also:
Marcia Muelder Eaton, “Intention, Supervenience and Aesthetic
Realism,” BJA, 38, 3 (July 1998): pp. 279-293.
George Dickie and W. Kent Wilson, “The Intentional Fallacy:
Defending Beardsley,” JAAC, 53, 3 (Summer 1995): pp. 233-250.
Frank Cioffi, "Intention and Interpretation in Criticism," in
Margolis, pp. 381-399.
Dickie, Introduction to Aesthetics, pp. 97-105.
Monroe C. Beardsley and William K. Wimsatt, entry on "Intention"
in Shipley, Dictionary of World Literature, pp. 326-329.
Beardsley, Aesthetics, Problems . . . , pp. 17-29 (on interpretation) and pp. 452-464 (on evaluation).
Isabel C. Hungerland, "The Concept of Intention in Art Criticism," JP, 52 (Nov. 24, 1955): 733-742.
Henry David Aiken, "The Aesthetic Relevance of Artists' Intentions," in Weitz, Problems in Aesthetics, First Edition, pp.
295-305 (or JP, immediately following the Hungerland paper).
John Kemp, "The Work of Art and the Artist's Intentions," BJA,
4, 2 (April 1964): 146-154.
Margolis, "The Intention of the Artist," ch. 7 of The Language of
Art and Art Criticism, pp. 95-103.
Theodore Redpath, "Some Problems of Modern Aesthetics, (1) The Meaning
of a Poem," in Mace, British Philosophy in the Mid-Century, pp. 361-375.
Anthony Savile, "The Place of Intention in the Concept of Art,"
PAS, 69 (1968-69): 101-124.
Marcia M. Eaton, "Art, Artifacts, and Intentions," APQ, 6, 2
(April 1969): 165-169.
26
Monroe C. Beardsley, "Textual Meaning and Authorial Meaning,"
Genre, 1, 3 (July 1968): 169-181.
George Dickie, "Meaning and Intention," Genre, 1, 3 (July 1968):
182-189.
Berel Lang, "The Intentional Fallacy Revisited,"BJA, 14, 4
(Autumn 1974): 306-314.
R. Pfaff, "Art and Group Intentions," The Personalist, 58 (1977):
68ff.
M. Sirridge, "Artistic Intention and Critical Prerogative," BJA,
18 (1978): 137ff.
M. Roskill, "On the Artist's Privileged Status," Philosophy, 54
(1979): 187ff.
Colin Lyas, "Anything Goes: The Intentional Fallacy Revisited,"
BJA, 23, 4 (Autumn 1983): pp. 291-305.
Monroe C. Beardsley, "The Philosophy of Literature" in Dickie,
Sclafani and Roblin, Aesthetics, a Critical Anthology,
2nd. ed., pp. 420-430.
LECTURE 23: "Aesthetic Concepts"
Read:
Frank Sibley, "Aesthetic Concepts," in Duncan, (Section 15).
Isabel C. Hungerland, "Once Again, Aesthetic and Non-Aesthetic,"
in Duncan, (Section 17).
See Also:
Kendall L., Walton, Categories of Art," in Margolis, pp. 53-79.
Frank Sibley, "Aesthetic Concepts," PR, 68, 4 (Oct. 1959):
421-450.
Virgil C. Aldrich, Philosophy of Art (Englewood cliffs, New Jersey:
Prentice-Hall, Inc., n.d.), pp. 20, 80, 87, 99.
H. R. G. Schwyzer, "Sibley's 'Aesthetic Concepts'," PR, 72, 1 (Jan.
1963): 72-78.
27
Frank Sibley, "Aesthetic Concepts: A Rejoinder," PR, 72, 1 (Jan.
1963): 79-82.
Isable C. Hungerland, "The Logic of Aesthetic Concepts," Proceedings and Addresses of the American Philosophical Association, 1962-63 (Oct. 1963): 43-66.
R. David Brioles, "Frank Sibley's 'Aesthetic Concepts', JAAC, 23,
2 (Winter 1964): 219-225.
Joseph Margolis, The Language of Art and Art Criticism: Analytic
Questions in Aesthetics (Detroit: Wayne State University
Press, 1965), pp. 111-116.
Frank Sibley, "Aesthetic and Nonaesthetic," PR, 74, 2 (April 1965):
135-139.
Joseph Margolis, "Sibley on Aesthetic Perception," JAAC, 25, 2
(Winter 1966): 155-158.
Frank Sibley, "Symposium: About Taste (2)," BJA, 6, 1 (Jan. 1966):
68-69.
K. Mitchells, "Aesthetic Perception and Aesthetic Qualities," PAS,
67 (1966-67): 53-72.
J. F. Logan, "More on Aesthetic concepts," JAAC, 25, 4 (Summer
1967): 401-406.
T. J. Diffey, "Evaluation and Aesthetic Appraisals," BJA, 7, 4
(Oct. 1967): 358-373.
Peter Kivy, "Aesthetic Aspects and Aesthetic Qualities," JP, 65, 4
(Feb 22, 1968): 85-93.
David M. Levin, "More Aspects to the Concept of 'Aesthetic
Aspects'," JP, 65, 16 (Aug. 22, 1968): 483-490.
Marcia P. Freedman, "The Myth of the Aesthetic Predicate," JAAC,
26, 1 (Fall 1968): 49-55.
F. N. Sibley, "Objectivity and Aesthetics, I," PAS, Supp. Vol. 62
(1968): 31-54.
Michael Tanner, "Objectivity and Aesthetics, II, " PAS, Supp. Vol. 62
(1968): 55-72.
28
Amy Goldin, Response to Hungerland in the "Letters Pro and Con"
Section, JAAC, 27, 2 (Winter 1968): 227-229.
Marcia Cavell, "Critical Dialogue," JP, 67, 10 (May 28, 1970):
339-351.
Kendal L. Walton, "Categories of Art," PR, 79, 3 (July 1970):
334-367.
Dorothy Walsh, "Aesthetic Descriptions," BJA, 10, 3 (July 1970):
237-247.
R. Meager, "Aesthetic Concepts," BJA, 10, 4 (Oct. 1970): 303-322.
J. Williamson, Review of Philosophy Looks at the Arts, edited by
Joseph Margolis, Australasian Journal of Philosophy, 41, 3
(Dec. 1963): 432-440.
Gary Stahl, "Sibley's Aesthetic Concepts': An Ontological Mistake," JAAC, 29, 3 (Spring 1971): 385-389.
Haig Khatchadourian, ch. 5 and 6 of his The Concept of Art, pp.
90-139.
Allan Casebier, "The Alleged Special Logic for Aesthetic Terms,"
JAAC, 31, 3 (Spring 1973): 357-364.
Gary Iseminger, "Aesthetic Judgments and Non-Aesthetic Conditions," Analysis, 33 (March 1973): 129-132.
M. C. Beardsley, "What is an Aesthetic Quality?", Theoria, 39
(1973): 50ff.
Peter Kivy, Speaking of Art (The Hague: Martinus Nijhoff, 1973).
J. Rudinow, "Kivy on Aspects," The Personalist, 56 (1975): 77ff.
E. Simpson, "Aesthetic Appraisal," Philosophy, 50 (1975): 189ff.
P. Kivy, "What Makes 'Aesthetic' Terms Aesthetic," PPR, 36 (1975): 197ff.
W. A. Hyde, "What Else Makes Aesthetic Terms Aesthetic?", PPR, 39
(1978): 124ff.
29
P. Kivy, "The Point of it all: An Answer to Professor Hyde," PPR,
39 (1978): 131ff.
R. A. Shiner, "On Giving Works of Art a Face," Philosophy, 53
(1978): 307ff.
P. Kivy, "Aesthetic Concepts: Some Fresh Considerations," JAAC,
37 (1979): 423ff.
Colin Lyas, “Frank Sibley: In Memoriam,” BJA, 36 (1996): 345-355.
LECTURE 24: "Tolerance in Interpretation?"
Read:
Joseph Margolis, "The Logic of Interpretation," in Duncan, (Section 16).
Marcia Muelder Eaton, "Good and Correct Interpretations of
Literature," in Duncan, (Section 18).
See Also:
Monroe C. Beardsley, "The Testability of an Interpretation," in
Margolis, pp. 466-483.
Joseph Margolis, "Robust Relativism," in Margolis, pp. 484-498.
Aldrich, Philosophy of Art, ch. 1.
F. David Martin, "Naming Paintings," The Art Journal, 25, 3
(Spring 1966): 252-256.
Monroe C. Beardsley, "Modes of Interpretation," Journal of the
History of Ideas, 32, 1 (Jan.-March 1971): 143-148.
Peter Jones, "Works of Art and Their Availability-for-use," BJA,
11, 2 (Spring 1971): 115-122.
M. C. Beardsley, "Some Problems of Critical Interpretation: a
Commentary," JAAC, 36 (1978): 351ff.
A. Savile, "Tradition and Interpretation," JAAC, 36 (1978):
303ff.
30
LECTURE 25: "Hermeneutics?"
Read:
H. G. Gadamer, "Hermeneutical Experience" in Margolis, pp.
499-517.
See Also:
Diane P. Michelfelder, “Gadamer on Heidegger on Art,” pp. 437-456
(Gadamer replies, pp. 456-458) in The Philosophy of Hans-Georg
Gadamer, edited by Lewis Edwin Hahn.
Joan Stambaugh, “Gadamer on the Beautiful,” pp. 131-134 (Gadamer
replies, p. 135).
E. D. Hirsch, Jr., "Gadamer's Theory of Interpretation," in
Margolis, pp. 438-454.
Paul Ricoeur, "Metaphor and the Central Problem of Hermeneutics,"
in Margolis, pp. 577-592.
Jacques Derrida, "The End of the Book and the Beginning of
Writing," in Margolis, pp. 553-576.
Roland Barthes, "From Work to Text," in Margolis, pp. 518-524.
Palmer, Richard E., Hermeneutics: Interpretation Theory in
Schleiermacher, Dilthey, Heidegger, and Gadamer.
LECTURE 26: "The 'Ontology' of Art"
Read:
Richard Wollheim, "Art and Its Objects," in Margolis, pp. 208-238.
See Also:
Nicholas Wolterstorff, "Towards an Ontology of Art Works" in
Margolis, pp. 229-252.
Joseph Margolis, "The Ontological Peculiarity of Works of Art,"
in Margolis, pp. 253-260.
J. Maitland, "Identity, Ontology and the Work of Art," The
Southwestern Journal of Philosophy, 6 (1975): 181ff.
C. Korsmeyer, "Wittgenstein and the Ontological Problem of Art,"
The Personalist, 59 (1978): 152ff.
The books of Wollheim and Wolterstorff in Bibligraphy "C" below.
31
LECTURE 27: "Truth and Fiction"
Read:
Symposium on "Imaginary Objects": papers by G. Ryle,
R. B. Braithwaite, and G. E. Moore, in Duncan, (Section 19).
See Also:
Margaret Macdonald, "The Language of Fiction," in Margolis, 2nd
ed. pp. 424-437.
Alvin Plantinga, "Possible but Unactual Objects: On What There
Isn't," in Margolis, (2nd. ed.) pp. 438-450.
Michael Scriven, The Language of Fiction--II," PAS, Supp. Vol. 28
(1954): 185-196.
Beardsley, Aesthetics, Problems . . . , ch. 8.
Margolis, The Language of Art and Art Criticism, ch. 11.
F. E. Sparshott, "Truth in Fiction," JAAC, 26, 1 (Fall 1967): 3-7.
Richard M. Gale, "The Fictive Use of Language," Philosophy, 46
(Oct. 1971): 324-339.
Marcia Eaton, "The Truth Value of Literary Statements," BJA, 12, 2
(Spring 1972): 163-174.
L. B. Cebik, "Creation, Predication, and Pickwick," Southwestern
Journal of Philosophy, 6 (1975): 39ff.
M. J. Sirridge, "Truth from Fiction?", PPR, 35 (1975): 453ff.
LECTURE 28: "Metaphor"
Read
See Also:
Haig Khatchadourian, "Metaphor," in Duncan, (Section 20).
Max Black, "Metaphor" in Margolis, pp. 535-552.
Margolis, The Language of Art and Art Criticism, pp. 165-177.
Dickie, Introduction to Aesthetics, pp. 113-119.
Paul Henle, "Metaphor" in his Language, Thought, and Culture, pp. 173-195.
32
Beardsley, Aesthetics, Problems . . . , ch. 3, sec. 10.
Monroe C. Beardsley, "The Metaphorical Twist," PPR, 22, 3 (March
1962): 293-307.
Arnold Isenberg, "On Defining Metaphor" JP, 60, 21 (Oct. 10, 1963):
609-622 (folllowed by an abstract of a reply by Paul Welsh).
Edith Watson Schipper, "A Note on Metaphor," JAAC, 27, 2 (Winter
1968): 199-201.
Alston, Philosophy of Language, pp. 96-106.
Virgil C. Aldrich, "Visual Metaphor," JAE, 2, 1 (Jan. 1968): 73-87.
Paul J. Olscamp, "How Some Metaphors May be True or False," JAAC,
29, 1 (Fall 1970): 77-86.
Peter Mew, "Metaphor and Truth," BJA, 11, 2 (Spring 1971): 189-195.
George E. Yoos, "A Phenomenological Look at Metaphor," PPR, 32, 1
(Sept. 1971): 78-88.
Stanley Cavell, "Aesthetic Problems of Modern America," in Max
Black's Philosophy in America, esp. pp. 75-87.
W. Charlton, "Living and Dead Metaphors," BJA, 15 (1975): 172ff.
J. T. Keehley, "Metaphor Theories and Theoretical Metaphors," PPR,
39, 4 (June 1979): 582-588.
LECTURE 29: "What is a Critic?"
Read:
Weitz, "The Issues," pp. 231-238, and "Summary and Criticism,"
in Duncan (Section 21).
See Also:
Morris Weitz, "Reasons in Criticism," in Weitz, Problems in
Aesthetics (2nd ed), pp. 913-927, or JAAC, 20, 4 (Summer
1962): 429-437.
George Dickie, Review of Hamlet and the Philosophy of Literary
Criticism, JAAC, 24, 3 (Spring 1966): 443-445.
33
Rudolf Arnheim, "What is a Critic?", Saturday Review, Aug. 28,
1965, pp. 26-27.
My "Who is to Judge?", The Phoenix, Baylor Fine Arts Magazine,
1971, pp. 35-37.
Richard Peltz, "Classification and Evaluation in Aesthetics:
Weitz and Aristotle," JAAC, 30, 1 (Fall 1971): 69-78.
Robert Hughes, "Modern Art and the Critic's Task," The BeallRussell Lectures in the Humanities, Baylor University,
September 28, 1987, 14 pp.
LECTURE 30: "Do We Really Dispute?"
Read:
Monroe C. Beardsley, "On the Generality of Critical Reasons, in Duncan,
(Section 22).
Monroe C. Beardsley, "The Classification of Critical Reasons,"
in Rader, pp. 388-394.
See Also:
Dickie, Introduction to Aesthetics, pp. 142-151.
Monroe C. Beardsley, "Can We Dispute About Tastes?", in Singer and
Ammerman, Introductory Readings in Philosophy, pp. 343-349.
Monroe C. Beardsley, "In Defense of Aesthetic Value," Proceedings and
Addresses of the American Philosophical Association, 52, 6
(August 1979): 723-749.
Monroe C. Beardsley, “Critical Evaluation,” pp. 316-331, and “The
Relevance of Reasons in Art Criticism,” pp. 332-351, both in The
Aesthetic Point of View, Selected Essays, edited by Michael J.
Wreen and Donald M. Callen, 1982.
Frank Sibley, “General Criteria and Reasons in Aesthetics,” pp. 3-20, in
Essays on Aesthetics, Perspectives on the Work of Monroe C.
Beardsley, edited by John Fisher, 1983.
W. E. Kennick, "Does Traditional Aesthetics Rest on a Mistake?"
in Barrett, Collected Papers on Aesthetics, pp. 1-21.
34
Richard Eggerman, "Is Normative Aesthetics a Viable Field for
Philosophic Inquiry?", Journal of Value Inquiry, 9 (1975):
210ff.
Donald W. Crawford, "Causes, Reasons and Aesthetic Objectivity,"
APQ, 8, 3 (July 1971): 266-274.
Dewitt H. Parker, "The Problem of Aesthetic Form," in Rader, Fourth
edition, pp. 250-265.
Theodore M. Greene, "The Three Aspects of Criticism," in Vivas and
Krieger, pp. 414-418.
The Monist, 50, 2 (April 1966), nine articles on the general topic,
"Reasons in Art Criticism."
Paul Ziff, "Reasons in Art Criticism," in Margolis, First edition,
pp. 158-178.
Stefan Morawski, "Artistic Value," JAE, 5, 1 (Jan. 1971): 23-59.
H. G. Blocker, "The Oil Can Theory of Criticism," JAE, 9 (1975):
19ff.
There is also a special issue devoted to aesthetic value in the Journal
of Value Inquiry, Vol. 28, No. 2, for June, 1994.
LECTURE 31: "Art and Ethics"
Read:
F. E. Sparshott, "Art and Censorship: a Critical Survey of the Issues,"
in Duncan, (Section 23).
Karl Marx, "Art and History" in Rader, pp. 483-490.
See Also:
W. K. Wimsatt, Jr., "Poetry and Morals: a Relation Reargued,"
in Vivas and Krieger, pp. 530-546.
Radoslav A. Tsanoff, "Literary Art and Moral Values," Rice University
Studies, 50, 1 (Winter 1964): 91-103.
T. J. Diffey, "Evaluation and Aesthetic Appraisals," BJA, 7, 4
(Oct. 1967): 358-373.
35
Eric Gilman, "The Use of Moral Concepts in Literary Criticism,"
Philosophy, 41, 158 (Oct. 1966): 304-319.
My "Arguments Used in Ethics and Aesthetics: Two Differences,"
JAAC, 25, 4 (Summer 1967): 427-431.
Joseph Margolis, "Parallels in Moral and Aesthetic Discourse,"
JAE, 2, 3 (July 1968): 65-77.
Jeremy Walker, " 'Moral' Versus 'Aesthetics'," Critica, 1, 3
(Sept. 1967): 21-36.
Philippa Foot, "Morality and Art," Proceedings of the British
Academy, 56 (1970).
Eddy M. Zemach, "Thirteen Ways of Looking at the Ethics-Aesthetics
Parallelism," JAAC, 29, 3 (Spring 1971): 391-398.
Aurel Dolnai, "Aesthetic and Moral Experience: the Five Contrasts,"
BJA, 11, 2 (spring 1971): 178-188.
F. N. Sibley, "Particularity, Art, and Evaluation," PAS, Supp.
Vol. 68 (1974): 1-21.
T. J. Diffey, "Morality and Literary Criticism," JAAC, 33 (1975):
443ff.
M. Cavell, "Taste and the Moral Sense," JAAC, 34 (1975): 29ff.
J. Ogilvy, "Art and Ethics," Journal of Value Inquiry, 10 (1976): 1ff.
R. A. Dyal, "Is Pornography Good for You?", Southwestern Journal
of Philosophy, 7 (1976): 95ff.
Noel Carroll, "Art and Ethical Criticism: An Overview of Recent
Directions of Research," Ethics, 110, 2 (January 2000): 350-387.
For a good collection of essays on the general topic, see Pornography:
Private Right or Public Menace?, edited by Robert M. Baird and
Stuart E. Rosenbaum.
36
LECTURE 32: "Unity"
Read:
Harold Osborne, "Organic Unity," in Rader, pp. 306-312.
Catherine Lord, "Organic Unity Reconsidered," in Duncan, (Section 24).
See Also:
Catherine Lord, "Unity with Impunity," JAAC, 26 (1967): 103ff.
My "Rules and Exceptions in Ethics and Aesthetics," PPR, 27, 2
(Dec. 1966): 267-273.
Bosanquet, Three Lectures on Aesthetic.
Berel Lang, "Bosanquet's Aesthetic: a History and Philosophy
of the Symbol," JAAC, 26, 3 (Spring 1968): 377-387.
K. M. Stampp, Jr., "Unity as a Virtue," JAAC, 34 (1975): 191ff.
Catherine Lord, "Kinds and Degrees of Aesthetic Unity," BJA, 18
(1978): 59ff.
LECTURE 33: "The Perfect Critic--or Relativism"
Read:
John Hospers, "The Ideal Aesthetic Observer," in Duncan, (Section 25).
My "The Ideal Aesthetic Observer: a Second Look," in Duncan, (Section 26).
See Also:
Bernard C. Heyl, "Relativism Again," in Vivas and Krieger, pp. 436-445.
Stolnitz, Aesthetics and Philosophy of Art Criticism, ch 15.
B. Harrison, "Somes Uses of 'Good' in Criticism," Mind, 64, 274
(April 1960): 206-222.
Sascha Talmar, "The Aesthetic Judgment and Its Criteria of Value,"
Mind, 78, 309 (Jan. 1969): 102-115.
A. G. Plydell-Pearce, "Objectivity and Value in the Judgments of
Aesthetics," BJA, 10, 1 (Jan. 1970): 25-38.
David Hume, "Of the Standard of Taste," in Dickie and Sclafani,
pp. 592-606.
37
My paper "Hume on Ethics, Aesthetics, and the Difference It
Makes," Southwest Philosophy Review, 1986, pp. 60-69.
Dickie, Introduction to Aesthetics, pp. 137-141.
Roman Bonzon, "Aesthetic Objectivity and the Ideal Observer Theory,"
BJA, 39, 3 (July 1999): 230-240.
LECTURE 34: "Emotivism"
Read:
Charles L. Stevenson, "On the Reasons that can be Given for the
Interpretation of a Poem," in Duncan, (Section 27).
Peter Kivy, “A Failure of Aesthetic Emotivism,” in Duncan, (Section 28).
See Also:
Charles L. Stevenson, "Interpretation and Evaluation in Aesthetics," in Black, Philosophical Analysis, pp. 319-358.
Charles L. Stevenson, "Relativism and Non-relativism in Aesthetics," in his Facts and Values, pp. 71-93.
Dickie, Introduction to Aesthetics, pp. 134-137.
Margolis, The Language of Art and Art Criticism, pp. 68-70.
Urmson, The Emotive Theory of Ethics, esp. ch. 4, 5, and 6.
LECTURE 35: "The Logic of Criticism"
Read:
Arnold Isenberg, "Critical Communication" in Duncan, (Section 29).
See Also:
Margaret Macdonald, "Some Distinctive Features of Arguments
Used in Criticism of the Arts," in Elton, Aesthetics and
Language, pp. 115-130.
Stuart Hampshire, "Logic and Appreciation," in Elton, Aesthetics and Language, pp. 161-169.
Hardy Jones, "Appreciation and Generalization," The Personalist,
57 (1976): 5ff.
D. Pole, "Art and Generality," Mind, 85 (1976): 371ff.
38
F. A. Siegler, "On Isenberg's 'Critical Communication'," BJA,
8, 2 (April 1968): 161-174.
Theodore Redpath, "Some Problems of Modern Aesthetics: the
Relations Between Evaluations, Reasons and Descriptions in
Aesthetics," in Mace, British Philosophy in Mid-Century,
pp. 275-290.
Ronald Suter, "Isenberg's Answer to the Problem of Taste,"
Philosophical Review (National Taiwan University), 1 (July
1971): 104-121.
Ronald Suter, "Isenberg," ch. 6 of his Six Answers to the Problem
of Taste, pp. 47-61.
Arnold Isenberg, Analytical Philosophy and the Study of Art
(Privately printed).
LECTURE 36: "One Last Look Around"
Read:
Ted Cohen, "Aesthetics," Social Research, in Duncan, (Section 30).
Lydia Goehr, "The Institutionalization of a Discipline: a Retrospective
of the Journal of Aesthetics and Art Criticism and the American
Society for Aesthetics, 1939-1992,"in Duncan, (Section 31).
Townsend, Dabney, “Aesthetics in the Twentieth Century,” in Duncan, (Section 32).
See Also:
Joseph Margolis, "Recent Work in Aesthetics," APQ, 2, 3 (July
1965): 185-192.
Joseph Margolis, "Recent Currents in Aesthetics of Relevance
to Contemporary Visual Artists," Leonardo, 12, 2 (Spring
1979): 111-119.
My "Notes After Compiling the Index," in the "Notes and News"
Section, JAAC, 24, 2 (Winter 1965): 329-332.
Van Meter Ames, "The New in Art," Rice University Studies, 51,
4 (Fall 1965): 19-38.
39
Rolf-Dieter Herrmann, "How a European Views the Journal of
Aesthetics and Art Criticism," JAAC, 29, 4 (Summer 1971):
499-505.
V. Tejara, "Contemporary Trends in Aesthetics: Some Underlying Issues," Journal of Value Inquiry, 8, 2 (Summer
1974): 137-142.
My "A Note for Teachers: Ryle was Right--Even About Aesthetics,"
JAE, 13, 3 (July 1979): 117-119.
And the book by Lang--The Death of Art.
My "The Present State of the American Society of Aesthetics,"
Leonardo, Vol. 36, No. 3, 1993, pp. 182-183.
Peter Lamarque, "The British Journal of Aesthetics: Forty Years On,"
40, 1 (January 2000): 1-20.
The student will also find useful articles on most of the topics (and people) we discuss in
the four volume Oxford Encyclopedia of Aesthetics (1998).
40