Contemporary Philosophy of Art Readings in Analytic Aesthetics

Analytic Approaches to Aesthetics

Peter Lamarque

• LAST REVIEWED: 19 Dec 2018
• LAST MODIFIED: x May 2010
• DOI: 10.1093/obo/9780195396577-0004

Introduction

Aesthetics is broadly that branch of philosophy concerned with fundamental questions about the nature of beauty, the nature of art, and the principles of fine art criticism. Some of these questions go dorsum to the aboriginal Greeks, but systematic written report of the foundations of aesthetics did not begin until the 18th century. Analytic philosophers turned their attention to this co-operative of the discipline relatively late and in the 1940s and 50s tended to exist scornful of what they plant (John Passmore famously wrote of the "dreariness" of aesthetics in 1951 in the journal Mind). Even so, in the fifty years up to the turn of the 21st century, and beyond that signal, analytic approaches to aesthetics developed with considerable composure and there is now a huge literature on all aspects of the bailiwick under the broad heading of "analytic aesthetics." Other approaches be, of grade, notably that associated with Continental philosophy, which is more historically oriented. The analytic approach is rooted in the analysis of concepts (albeit increasingly informed by work in the empirical sciences) and tends to examine bug about the nature of art and the aesthetic qualities of objects in an ahistorical manner, even if noting and evaluating ideas from earlier periods. In the years since the early 1990s there has been a notable growth in attention to the individual arts (music, painting, literature, moving picture, etc.). Important developments in the aesthetics of nature and the environment accept also occurred.

Anthologies

There are several collections of papers that give a thorough overview of belittling work in aesthetics, showing the range of topics covered and current thinking about them. Lamarque and Olsen 2003 collects influential papers on analytic aesthetics from its first flowering in the 1950s up to the present day. Schaper 1983 includes some contributions from analytic philosophers, such equally John McDowell, not normally associated with aesthetics. Gaut and Lopes 2005 and Levinson 2003 between them give fairly comprehensive and fifty-fifty-handed coverage of topics and ideas currently being debated, written by leading specialists. Kivy 2004 offers longer and more polemical manufactures again by leading contemporary figures, each developing and defending a item point of view. Kieran 2005 usefully explores core debates using pairs of specially written papers taking different sides on current problems. Feagin and Maynard 1997 and Neill and Ridley 1995 are big and pop anthologies that include but extend beyond the analytic, both offering a broader context historically and in terms of methodology.

• Feagin, Susan, and Patrick Maynard, eds. Aesthetics. Oxford: Oxford University Press, 1997.

  A useful and imaginative selection of papers and extracts with a wide historical and cross-cultural sweep.

• Gaut, Berys, and Dominic McIver Lopes, eds. Routledge Companion to Aesthetics. 2d ed. London: Routledge, 2005.

  Parts II, III, and IV, on, respectively, aesthetic theory, issues and challenges, and the individual arts, are detailed and attainable studies from an analytical point of view of key problems in aesthetics written by prominent contemporary philosophers.

• Kieran, Matthew, ed. Contemporary Debates in Aesthetics and the Philosophy of Fine art. Oxford: Blackwell, 2005.

  Helpful format using pairs of deputed articles taking dissimilar sides in current debates. Good for seminar give-and-take, revealing where key disagreements lie.

• Kivy, Peter, ed. The Blackwell Guide to Aesthetics. Oxford: Blackwell, 2004.

  A useful collection of eighteen commissioned articles by gimmicky aestheticians. The articles present an overview of an area but also offering sometimes polemical perspectives on their subjects.

• Lamarque, Peter, and Stein Haugom Olsen, eds. Aesthetics and the Philosophy of Art: The Analytic Tradition; an Anthology. Oxford: Blackwell, 2003.

  A collection of forty-half-dozen papers representing some of the best and well-nigh influential piece of work by analytic philosophers in aesthetics from the 1950s to the present. Introductions to each section give a useful overview.

• Levinson, Jerrold, ed. Oxford Handbook of Aesthetics. Oxford: Oxford University Press, 2003.

  Forty-eight especially commissioned manufactures, at an introductory level, on a broad range of topics in electric current aesthetics, under the headings Background, Full general Problems in Aesthetics, Aesthetic Issues of Specific Fine art Forms, and Further Directions in Aesthetics.

• Neill, Alex, and Aaron Ridley, eds. The Philosophy of Art: Readings Aboriginal and Mod. New York: McGraw-Colina, 1995.

  A judicious wide-ranging pick of material from 20th-century analytical writing back to the ancient Greeks and also including Hume, Kant, Nietzsche, Tolstoy, Freud, Collingwood, and Adorno, among others.

• Schaper, Eva, ed. Pleasure, Preference, and Value: Studies in Philosophical Aesthetics. Cambridge, UK: Cambridge Academy Press, 1983.

  A collection of commissioned papers by leading belittling philosophers, including John McDowell, Philip Pettit, R. A. Sharpe, Anthony Savile, Ted Cohen, and Malcolm Budd. At times quite philosophically demanding.

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