We cannot verify your location
Browse Book and Journal Content on Project MUSE
OR
title

Art And Engagement

Arnold Berleant

Publication Year: 2010

Published by: Temple University Press

Contents

pdf iconDownload PDF (80.7 KB)
pp. vii-

Illustrations

pdf iconDownload PDF (62.2 KB)
pp. ix-

read more

Preface

pdf iconDownload PDF (824.6 KB)
pp. xi-xv

THIS BOOK WAS BEGUN LONG BEFORE IT WAS CONCEIVED, AND ITS intent and direction may become more apparent if I briefly recount its origins. In an earlier book, The Aesthetic Field: A Phenomenology of Aesthetic Experience (1970), I developed a theory of art and the aesthetic that may have seemed somewhat idiosyncratic at the time it...

read more

Acknowledgments

pdf iconDownload PDF (131.3 KB)
pp. xvii-

PERMISSION IS GRATEFULLY ACKNOWLEDGED FOR THE USE OF THE following materials: Alfred A. Knopf, Inc. for "Six Significant Landscapes," VI, by Wallace Stevens; New Directions Publishing Co. and David Higham for "A Refusal to Mourn the Death by Fire of a Child in London," by Dylan Thomas; and Grove Press for an excerpt from...

read more

Introduction

pdf iconDownload PDF (1.1 MB)
pp. 1-6

AESTHETICS IS A STUDY WITH A LONG HISTORY AND A SHORT IDENtity. Like its root discipline philosophy, aesthetics has struggled to establish both itself and its subject matter, its material and its methodology, its proper problems and its structure, its order of working...

Part One: Aesthetics and Experience

read more

1. Experience and Theory in Aesthetics

pdf iconDownload PDF (4.4 MB)
pp. 9-31

FROM THE EARLIEST TIMES ART HAS BEEN INTEGRAL TO HUMAN culture. Both fascinated and perplexed by the arts, people have tried, since the age of classical Greece, to understand how they work and what they mean. Philosophers wondered at first about the nature of art: what it is and how it relates to the cosmos. They puzzled over...

read more

2. The Unity of Aesthetic Experience

pdf iconDownload PDF (3.6 MB)
pp. 32-50

THE ARTISTIC TRANSFORMATIONS THAT CONTRADICT THE INHERited aesthetic ofthe eighteenth century are no anomaly in the history of the arts. They must not be dismissed as deviant, an unhappy though temporary digression from the true and proper course of things. They move, in fact, close to the far older tradition of artistic...

Part Two: Engagement in the Arts

read more

3. The Viewer in the Landscape

pdf iconDownload PDF (4.4 MB)
pp. 53-75

PAINTING IS THE ART OF OBJECTS PAR EXCELLENCE. PAINTINGS ARE things, stretched canvases covered with colored oil, paper saturated with tinted water, firm surfaces coated with pigments that have been mixed with a vehicle so they can be spread, blended, and fixed in place. Paintings are typically hung on walls or placed on racks. They

read more

4. Architecture as Environmental Design

pdf iconDownload PDF (5.6 MB)
pp. 76-104

HOWEVER MUCH THE OTHER SENSES JOIN IN THE PERCEPTUAL EXperience of landscape painting, vision predominates. Because it is necessary for pictorial perception, the visual is the leading sensory strand, for without sight the kinesthetic, haptic, and other modalities of sensory awareness cannot join in. Even so, when we view a pic...

read more

5. The Reader's Word

pdf iconDownload PDF (5.0 MB)
pp. 105-131

IT IS ONE OF THE DISCOVERIES OF RECENT LITERARY CRITICISM, perhaps its most far-reaching claim, that a text does not stand alone. A text requires a cohort of critics and readers, a literary public, a linguistic system, all surrounded by a larger society with its conventions and beliefs, and all placed in an ordered historical perspective to...

read more

6. Musical Generation

pdf iconDownload PDF (3.7 MB)
pp. 132-150

MUSIC SUFFERS IN DISCUSSION MORE THAN MOST ARTS. THE DIFFIculties of grasping the workings of an art whose materials of sound are intangible, elusive, and ephemeral are increased by the usual practice of employing physical and other alien metaphors to convey the activities of musical creation and appreciation. It is common to...

read more

7. Dance as Performance [Includes Image Plates]

pdf iconDownload PDF (5.4 MB)
pp. 151-172

IT IS COMMONPLACE IN AESTHETICS TO DISTINGUISH BETWEEN those arts that center on a stable, relatively permanent object, such as a painting, a sculpture, or a building, and those that appear in the ephemeral form of a transient activity, such as music, theater and, most especially, dance. This division of the realm into performing...

Part Three: Art and Reality

read more

8. Cinematic Reality

pdf iconDownload PDF (2.9 MB)
pp. 175-189

FILM IS THE MASS ART OF OUR DAY. IT APPEARS TO PURVEY FANTASY to a huge market of people hungry for distraction from dull routine and for deliverance from a sense of anonymity and powerlessness. But cinema is not so much an art of escape as an art of entry. In this modem equivalent of crystal gazing everyone becomes his or her...

read more

9. The Realities of Art

pdf iconDownload PDF (3.7 MB)
pp. 190-208

IN AN EXHIBITION IN THE MID-1980s AT THE POMPIDOU CENTER IN Paris, the philosopher J.-F. Lyotard attempted to show how our postmodern sensibility cannot allow us to accept the world simply as it is perceived. Reality, he holds, has become transformed into a complex and infinite network of meanings and codes, so that the...

read more

10. Epilogue: Art and the End of Aesthetics

pdf iconDownload PDF (972.8 KB)
pp. 209-213

PURSUING THE COURSE AND SIGNIFICANCE OF ART IN EXPERIENCE, history, and theory has led us beyond aesthetics proper into regions of philosophical query that we have only begun to probe. Yet the connections of aesthetics with other domains of philosophy are not casual, and there are unusual insights to be found here. Strong bonds...

Notes

pdf iconDownload PDF (5.6 MB)
pp. 215-245

Index

pdf iconDownload PDF (1.8 MB)
pp. 247-259


E-ISBN-13: 9781439905425

Publication Year: 2010