This book presents a theory of aesthetic judgment and appreciation in the spirit of modern empiricism. There are three parts: the first deals with questions of philosophical logic, the second with questions in the philosophy of mind, and the third with questions in the philosophy of art. Thus the argument advances from a theory of aesthetic judgment (and in particularly of “aesthetic description”) to a theory of aesthetic appreciation, and thence to an account of the nature and value of art.
Scruton examines and rejects various attempts made by recent philosophers to demarcate the realm of aesthetic judgment. He argues that the logic of aesthetic judgment does not suffice to distinguish what is “aesthetic” from what is not, for aesthetic judgments must be explained in terms of the conditions for their acceptance rather than the conditions for their truth. These “acceptance conditions” can be understood only if we first know what is meant by aesthetic experience. This theory attempts to show how aesthetic experience can be regarded as autonomous, even though it is intimately connected with ordinary experience, and is indeed dependent on ordinary experience for its full description.
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&;His intricate analyses show how the insights of Hegel, Kant, and the phenomenologists, giving art a central place in human experience, can be given a firmer analytic basis in an empiricist philosophy of mind which extends beyond the accounts of Ryle and Wittgenstein.&; &; Choice
&;This is an important book and one of the best to appear in a long while. There is a special reason to recommend the book to an American audience. Interest in Aesthetics has always been high in this country, but American aestheticians have not always been very clear about what the philosophical problems of aesthetics are, and especially have they not been clear about the kinds of problems they wanted to address. Mr. Scruton is very clear about both of these.&; &; B.R. Tilghman, Journal of Aesthetics and Art Criticism
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