A Companion to Arthur C. Danto

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Группа авторов. A Companion to Arthur C. Danto

Blackwell Companions to Philosophy

A Companion to Arthur C. Danto

Contents

List of Figures

Guide

Pages

Preface

Notes on Contributors

Introduction: Five Pieces for Arthur Danto (1924–2013) In memoriam

Life with Art. Lydia Goehr

In Memoriam, Arthur Danto. Daniel Herwitz

Remembering Arthur Danto. Fred Rush

Working with Arthur C. Danto. Michael Kelly

ACD, In Memoriam. Jonathan Gilmore

Acknowledgment

1 Roquebrune, 1962

2 Boundaries Crossed

1 Times Square

2 Opening Doors

3 Today’s Art World

4 Art History Ended in My Garden

Notes

References

3 Writing with Style

Notes

References

4 Sartre, Transparency, and Style

References

5 Nietzsche and Historical Understanding1

Notes

References

6 Pragmatism between Art and Life

Notes

References

7 Danto on Dewey (and Dewey on Danto)

Notes

References

8 Thought Experiments: Art and Ethics

1 Conceptual Issues about Art: Danto versus Wollheim

2 Ethics and Indiscernibles

3 Comparing Danto on Ethics to Wollheim on Art

Notes

References

9 A Normative Perspective on Basic Actions

1 What Danto Says about the Agent’s First-Person Point of View

2 The Distinctive Character of First-Person Knowledge Owes to Agency

3 Agents’ Powers

4 The First-Person Point of View and Embodiment

5 What Is an Agent?

References

10 Cognitive Science and Art Criticism

1 Introduction

2 Danto’s Deduction

3 Change and Non-change

4 Conclusion

References

11 Perception

1 Danto on the History of Vision Historicism

2 Danto against Perceptual Plasticity

3 Extended Perception

4 Modularism and the Gallery of Indiscernibles

Notes

References

12 The Anthropology of Art

References

13 The Birth of Art

1 Natural Pictorial Competence and Natural Artistic Capacity

2 Art in the Narrow Sense: Transfiguration and Vorkunsten

3 Art in the Large Sense: Ausderkunstweltkunstleren and Pre-Historical-Art

Notes

References

14 The End of Art

1 Danto on the End of Art

2 Hegel’s End-of-Art Thesis Revisited

3 Re-Interpreting Danto’s End-of-Art Thesis

4 The End of Art without End

References

15 Representation, Truth, and Historical Reality

1 Introduction

2 The Human Being as ens representans

3 Danto’s Four Theories of Representation

4 Leibniz’s Monadology

5 Leibniz and the Identity of the Representation and the Represented

6 Representation and Reality

Notes

References

16 History and Retrospection

1 Historical Retrospection

2 Substantive Philosophy of History

3 Eyewitness View of History

4 End of Art

5 Discussion

References

17 Action in the Shadow of Time1

Notes

References

18 The Sixties

Notes

References

19 Criticism and the Pale of History

References

20 Postmodernism and Its Discontents

Notes

References

21 Shakespeare and the Repetition of the Commonplace

1 Mirror, Mirrors on the Wall

2 Not Nothing

Notes

References

22 Engaging Henry James: The Metaphorical Perspective

Notes

References

23 Literature, Philosophy, Persona, Politics

Notes

References

24 Moving Pictures

References

25 Photography and Danto’s Craft of the Mind

1 Photography and Ethics

2 Photography and the Ontology of Art

Notes

References

26 Transfiguration/Transubstantiation

Notes

References

27 Embodiment and Medium

Notes

References

28 The Style Matrix

Notes

References

29 Disenfranchisement

References

30 Definition

31 Danto and Dickie: Artworld and Institution

Notes

References

32 Danto and Wittgenstein: History and Essence

1 Neo-Wittgensteinian Case against Definitions of Art

2 Wittgenstein and the “Family Resemblance” Passages

3 Danto and Wittgenstein’s Views of Historical Human Kinds

Notes

References

33 Censorship and Subsidy

1 Non-Subsidy as Censorship

2 Art Should Be Subsidized, Not Censored

3 Public Art Is Subsidized Art

4 Public Art Can Be Removed When the Public Doesn’t Like It

5 Conclusion: How Not to Escape Danto’s Dilemma

References

34 Amnesty International and Human Rights

References

Archival Sources

35 Random Noise, Radical Silence

Notes

References

36 Mad Men and Pop Art

1 Pop Art’s Puzzle

2 Spurred to Interpret

3 Philosophizing Art

4 All the Way with Alloway

5 The Perfect Moment

References

37 Vija Celmins: Nature at Art’s End

1 Introduction

Notes

References

38 The Meaning of Ugliness, The Authority of Beauty

Notes

References

39 Feminist Criticism: On Disturbatory Art and Beauty

1 Appreciating Women in Art

2 Female Artists and Feminist Art Criticism

3 Feminist Aesthetics

4 Feminist Conclusions

References

40 Beauty and Politics

1 The Return of Beauty

2 Internal Beauty

3 Elegiac Beauty

4 Angry Beauty

Notes

References

41 Public Art: Monuments, Memorials, and Earthworks

1 Monuments, Memorials, Context

2 Public Art and Its Problems

3 Genius Loci: Public Art at the Edge of Visibility

4 Robert Smithson: Entropy and the Monumental Sublime

5 Danto and the Grounds of Aesthetics

References

42 On Architecture

References

43 Aliveness and Aboutness: Yvonne Rainer’s Dance Indiscernibles

1 Warm-Up

2 The Invention of Running: We Shall Run (1963)

3 Rainer’s Negations

4 Danto’s Difference

5 Embodiment and the Everyday

Acknowledgments

Notes

References

44 Arthur and Andy

References

45 Letter to Posterity

Index

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This outstanding student reference series offers a comprehensive and authoritative survey of philosophy as a whole. Written by today’s leading philosophers, each volume provides lucid and engaging coverage of the key figures, terms, topics, and problems of the field. Taken together, the volumes provide the ideal basis for course use, representing an unparalleled work of reference for students and specialists alike. For the full list of series titles, please visit wiley.com.

Jonathan Gilmore and Lydia Goehr

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Robert Gooding-Williams is the M. Moran Weston/Black Alumni Council Professor of African-American Studies and Professor of Philosophy and of African American and African Diaspora Studies at Columbia University. He is the author of Zarathustra’s Dionysian Modernism, Look, A Negro!: Philosophical Essays on Race, Culture, and Politics and In the Shadow of Du Bois: Afro-Modern Political Thought in America.

Adrian Haddock is Senior Lecturer in Philosophy at the University of Stirling, following an Alexander von Humboldt Experienced Research Fellowship at the University of Leipzig. His most recent publication is “The Wonder of Signs,” in Proceedings of the Aristotelian Society.

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