{"product_id":"art-and-interpretation-an-anthology-of-readings-in-aesthetics-and-the-philosophy-of-art-9781551111902","title":"Art and Interpretation: An Anthology of Readings","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003eArt and Interpretation\u003c\/em\u003e is a comprehensive anthology of readings on aesthetics. Its aim is to present fundamental philosophical issues in such a way as to create a common vocabulary for those from diverse backgrounds to communicate meaningfully about aesthetic issues. To that end, the editor has provided selections from a wide variety of challenging works in aesthetic theory, both classical and modern. The approach is often cross-disciplinary. Within the discipline of philosophy it seeks to balance readings from the analytic tradition with continental European, hermeneutical postmodern (including deconstructionist), and feminist readings.\u003c\/p\u003e\u003cp\u003eThe anthology is thus broadly conceived, but by grouping the readings into sections such as ‘Expression and Aesthetic object,’ ‘Psychology and Interpretation,’ ‘Marxist Theory,’ and ‘Culture, Gender, and Difference,’ it aims as well to provide depth of coverage for each topic or issue. The book opens with a historical section containing substantial selections from Plato, Aristotle, Hume, Kant, Shelley and Nietzsche; these readings introduce themes that recur and are developed in the remainder of the anthology.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e“A very intelligent and wide-ranging collection.” — Ronald Moore, University of Washington, co-author, \u003cem\u003ePuzzles in Art\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003ePreface\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 1. Historical Readings\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIntroduction\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePlato\u003c\/strong\u003e\u003cbr\u003eSelections from \u003cem\u003eRepublic Book X\u003c\/em\u003e\u003cbr\u003eSelections from \u003cem\u003eSymposium\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAristotle\u003c\/strong\u003e\u003cbr\u003eSelections from \u003cem\u003ePoetics\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eDavid Hume\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eStandard of Taste\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eImmanuel Kant\u003c\/strong\u003e\u003cbr\u003eSelections from \u003cem\u003eAnalytic of the Beautiful\u003c\/em\u003e\u003cbr\u003eSelections from \u003cem\u003eAnalytic of the Sublime\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePercy Bysshe Shelley\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eA Defence of Poetry\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFriedrich Nietzsche\u003c\/strong\u003e\u003cbr\u003eSelections from \u003cem\u003eThe Birth of Tragedy\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eOn Truth and Lies in a Non-Moral Sense\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 2. Expression and the Aesthetic Object\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIntroduction\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eR.G. Collingwood\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Craft Theory of Art and Art as Expression\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJohn Dewey\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eArt as Experience\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSusanne Langer\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eExpressiveness\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eStephen Pepper\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Aesthetic Object and the Consummatory Field\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRoman Ingarden\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOn the Phenomenological Formulation of the Aesthetic Objection\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMonroe C. Beardsley\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Aesthetic Point of View\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMary Mothersill\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Judgement of Taste\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChristine Battersby\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eSituating the Aesthetic: A Feminist Defence\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 3. The Task of Definition\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIntroduction\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eLudwig Wittgenstein\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOn Family Resemblance and On Seeing As\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eStanley Cavell\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eExcursus on Wittgenstein’s Vision of Language\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eArthur C. Danto\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eArtworks and Real Things\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBarbara Savedoff\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Art Object\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eGeorge Dickie\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe New Institutional Theory of Art\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSusan L. Feagin\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOn Defining and Interpreting Art Intentionalistically\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJerrold Levinson\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eDefining Art Historically\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJenefer M. Robinson\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eStyle and Personality in the Literary Work\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 4. Psychology and Interpretation\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIntroduction\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSigmund Freud\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Relation of the Poet to Day-Dreaming\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCarl Gustav Jung\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003ePsychology and Literature\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eUrsula K. LeGuin\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Child and the Shadow\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eSome Thoughts on Narrative\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 5. Hermeneutics and Interpretation\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIntroduction\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMartin Heidegger\u003c\/strong\u003e\u003cbr\u003eSelections from \u003cem\u003eBeing and Time\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThe Origin of the Work of Art\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eHans-Georg Gadamer\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe University of the Hermeneutical Problem\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePaul Ricoeur\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Hermeneutical Function of Distanciation\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eE.D. Hirsch, Jr.\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIn Defense of the Author\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRoland Barthes\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Death of the Author\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRosalind Krauss\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003ePoststructuralism and the Paraliterary\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJoseph Margolis\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eReinterpreting Interpretation\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 6. Marxist Theory\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIntroduction\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eKarl Marx\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eAlienated Labour\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWalter Benjamin\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Work of Art in the Age of Mechanical Reproduction\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePeter Bürger\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Theory of the Avant-Garde and Critical Literary Science\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eHerbert Marcuse\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Aesthetic Dimension\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 7. (Post)modernism\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIntroduction\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eClement Greenberg\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eModernist Painting\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJürgen Habermas\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eModernity—An Incomplete Project\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJean-Françis Lyotard\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eAnswering the Question: What is Postmodernism?\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eLinda Hutcheon\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eRepresenting the Postmodern\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eIhab Hassan\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Culture of Postmodernism\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003ePart 8. Culture, Gender and Difference\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eIntroduction\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAndrea Huyssen\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eMass Culture as Woman: Modernism’s Other\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJanet Wolff\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eWomen’s Knowledge and Women’s Art\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChristine Battersby\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Margins Within Post-modernism and the Female Author\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eNaomi Scheman\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Body Politic\/The Impolitic Body\/Bodily Politics\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJames Clifford\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOn Ethnographic Allegory\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eOn Collecting Art and Culture\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eFrances E. Mascia-Lees, Patricia Sharpe and Ballerino Cohen\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eThe Postmodernist Turn In Anthropology: Cautions from a Feminist Perspective\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJean-Françis Lyotard\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eUniversal History and Cultural Differences\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRichard Rorty\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eCosmopolitanism Without Emancipation: A Response to Lyotard\u003c\/em\u003e\u003c\/p\u003e","brand":"Broadview Press Ltd","offers":[{"title":"Default Title","offer_id":51041303363927,"sku":"9781551111902","price":75.6,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781551111902.jpg?v=1750949733","url":"https:\/\/bookcurl.com\/products\/art-and-interpretation-an-anthology-of-readings-in-aesthetics-and-the-philosophy-of-art-9781551111902","provider":"Book Curl","version":"1.0","type":"link"}