Virgil C. Aldrich, PHILOSOPHY OF ART (Prentice-Hall, 1963) pp. All Rights Reserved. 16. You do not have access to this Monroe C. Beardsley's "Aesthetics: Problems in the Philosophy of Criticism," published in 1958 by Harcourt, Brace and World Inc., was a watershed event in the history of analytic aesthetics--a climax of sorts with respect to what preceded it and, at the same time, the opening of a new, more intricately developed and defended research program in aesthetics than what had been previously on offer. on JSTOR. In this book George Dickie presents a theory about how to judge a work of art--as opposed to a theory that explains why a particular work is defined as art. Of course, those unfamiliar with Dickie's views will also learn a lot." This website uses cookies to ensure you get the best experience on our website. Introduced by W.K. It means that text should be liberated from the emotions of the reader. Finally, five traditional art evaluational theories are presented, and the author constructs an evaluational theory of his own by building on ideas drawn from the work of Monroe Beardsley and Nelson Goodman. The great majority of humankind... A new era for the theory of art evaluation began in 1958 with the publication of Paul Ziff’s “Reasons in Art Criticism”¹ and Chapters X and XI of Monroe Beardsley’sAesthetics: Problems in the Philosophy of Criticism.² Each philosopher presents an ingenious instrumentalist theory with little or no attention paid to the metalinguistic questions that so concerned other philosophers of the time. His thorough analysis of the work of other contemporary theorists argues for a theory of art evaluation derived from various strands of thought. My personal comments are in red. You should begin your thinking by looking again at Monroe Beardsley’s theory of art evaluation, especially its strengths and weaknesses. He taught at a number of colleges and universities, including Mount Holyoke College and Yale University, but most of his career was spent at Swarthmore College (22 years) and Temple University (16 years). --Anita Silvers, San Francisco State University In this book George Dickie presents a theory about how to judge a work of art--as opposed to a theory that explains why a particular work is defined as art. Beardsley disagrees with Ducasse about the subjectivity of … He identifies seven theory-types that fall under four general headings: imitation value theory, objective intrinsic value theories, subjective intrinsic value theory, and instrumental value theories. It illuminates an area of history from a certain perspective as was never done before. In 1968, at the very end ofLanguages of Art,¹ Goodman began sketching the broad outlines of an instrumentalist theory that like Beardsley’s proposes to evaluate art on the basis of its ability to produce aesthetic experience. Advanced embedding details, examples, and help! Log in to your personal account or through your institution. The core issues in Philosophical Aesthetics, however, are nowadays fairly settled (see the book edited by Dickie, Sclafani, and Roblin, and the monograph by Sheppard, among many others).Aesthetics in this central sense has been said to start in the early eighteenth cen… Both view art evaluation as instrumentalist; that is, both hold that art is to be evaluated according to its ability to produce aesthetic experience. According to Plato, all art is inherently an imitation of this Form, and therefore falls short in its execution. Produced by Johns Hopkins University Press in collaboration with The Sheridan Libraries. For example, when the Daily Mail criticized Damien Hirst and Tracey Emin’s work by a… T I sin. Aesthetics: A Short History (/966). Aesthetics (1958). Plato long ago of course denigrated the value of the representation in art of the world of sights and sounds, but his view is generally regarded as idiosyncratic and merely curious. Essays on aesthetics : perspectives on the work of Monroe C. Beardsley Item Preview remove-circle Share or Embed This Item. Of course, there is no perfectly scientific or quantifiable way to evaluate art. "Those who think they know George Dickie's views should be sure to read this book. He was elected president of the American Society for Aesthetics in 1956. Focusing mainly on the writings of Monroe Beardsley and critically examining the views of seven other philosophers and art critics--Paul Ziff, Frank Sibley, Nelson Goodman, Nicholas Wolterstorff, David Hume, Bruce Vermazen, and J. O. Urmson--Dickie synthesizes their insights to discover what can be derived from their theories. First, it is an instrumentalist account in which the value of a work of art is derived from the work’s capacity to be the source of a valuable experience. His ~I'orks include Practical Logic (1950). He identifies seven theory-types that fall under four general headings: imitation value theory, objective intrinsic value theories, subjective intrinsic value theory, and instrumental value theories. Beauty is perceived as an intrinsic quality, starkly opposed to the synthetic nature of art, and so Plato places little emphasis on the artist as either an interpreter or a creator (Beardsley 507). 15. . Beardsley, Monroe C . Dickie then discusses the historical development of the theory of art evaluation, examining the ways in which eighteenth- and nineteenth-century philosophers treated representation and other cognitive dimensions of art as artistic values. 1976. Advanced embedding details, examples, and help! Subjective theory: aesthetic value of an object consists on a relation between the object and the observer Monroe Beardsley Instrumentalist theory: aesthetic value of an object lies in its capacity for producing aesthetic experience. The editors believe that the problems of philosophy are perennial, yet "better solutions are found by more refined and rigorous methods" exemplified in this series. In Chapters Four and Six, I examined Monroe Beardsley’s and Nelson Goodman’s opposing theories of art evaluation. Monroe C. Beardsley, Aesthetics: Problems in the Philosophy of Criticism, 1st ed., 1958; 2d ed., 1981. It is defined as the error of evaluating a text through the emotional response of the reader to the text. Aristotle in contrast uses imitation (representation) as one of the criteria of artistic value. Subjective theory: aesthetic value of an object consists on a relation between the object and the observer Monroe Beardsley Instrumentalist theory: aesthetic value of an object lies in its capacity for producing aesthetic experience. ©2020 Project MUSE. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. 1976. Aesthetics: A Short History (/966). Beardsley was born and ... His work in aesthetics is best known for its championing of the instrumentalist theory of art and the concept of aesthetic experience. muse@press.jhu.edu. It is against this background that Beardsley … However, their views differ radically over the nature of aesthetic experience. Beardsley, Monroe C . Since Beardsley’s distinction between primary and secondary criteria has been abandoned, it is unnecessary to specifyprimaryfor these definitions. Wimsatt, Jr., and Monroe C. Beardsley in The Verbal Icon (1954), the approach was a reaction to the popular belief that to know what the author intended—what he had in mind at the time of writing—was to know the correct interpretation of the work.… As noted at the beginning of the last chapter, Monroe Beardsley first proposed his theory of art evaluation in 1958 in his bookAesthetics: Problems in the Philosophy of Criticism.¹ His theory, which is worked out in great detail, is a substantive, nonmetalinguistic theory. (reprinted in the Norton Anthology of Theory and Criticism, 1374-1387). According to this theory, the act of reading should be based on intelligence rather than sentiment or political issues. I shall run through the answers that the theories discussed in earlier chapters give to this question, and I shall begin, as usual, with Beardsley’s theory. “Is Art ... ingredient in the evaluation of a work of art. "Those who think they know George Dickie's views should be sure to read this book. In this chapter, although I shall not challenge the importance of critical principles, I shall call into question the particular view that Beardsley has worked out. Metalinguistic questions about the meaning of evaluational terms that have fascinated so many philosophers in recent... One of the most remarkable and relatively recent changes in the way that philosophers theorize about the evaluation of art has been the rejection of the representative or more generally the cognitive element as being of artistic value. Monroe Beardsley (/9J5-81) was elected presidellt of the AlIleric£7Il Society fOl Aesthetics il1 1956. Million. Beardsley holds that aesthetic experience is detached and that its content consists solely of aesthetic qualities that are nonreferential. In other words, the primary concern of this book is the theory of normative art evaluation. Wimsatt and Monroe C. Beardsley argue that the writer or artist's original intention for creating their work of art cannot be the basis on which to judge the merit of it; the work itself must testify to its success and merit, and the success a work of art has in communicating its meaning depends on how it relates to each individual reader or viewer.
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