defining art creating canon di crowther paul (39 risultati)

Hardcover. Condizione: Good. First printing. Ex-library copy with typical markings, thus only good in black cloth. No dust jacket.

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Paperback / softback. Condizione: New. New copy - Usually dispatched within 4 working days. 488.

Paperback or Softback. Condizione: New. Defining Art, Creating the Canon: Artistic Value in an Era of Doubt. Book.

Paperback. Condizione: new. Paperback. What is art; why should we value it; and what allows us to say that one work is better than another? Traditional answers have emphasized aesthetic form. But this has been challenged by institutional definitions of art and postmodern critique. The idea of distinctively artistic value based on aesthetic criteria is at best doubted, and at worst, rejected. This book, however, champions the traditional notions. It restores the mimetic definition ofart on the basis of factors which traditional answers neglect, namely the conceptual link between art's aesthetic value and 'non-exhibited' epistemological and historical relations.These factors converge on an expanded notion of the artistic image (a notion which can even encompass music, abstract art, and some conceptual idioms). The image's style serves to interpret its subject-matter. If this style is original (in comparative historical terms) it can manifest that special kind of aesthetic unity which we call art. Appreciation of this involves a heightened interaction of capacities (such as imagination and understanding) which are basic toknowledge and personal identity. By negotiating these factors, it is possible to define art and its canonic dimensions objectively, and to show that aforementioned sceptical alternatives are incomplete andself-contradictory. What is art; why should we value it; and what allows us to say that one work is better than another? Paul Crowther uses a philosophical approach to argue that there is such a thing as distinctively artistic value based on aesthetic criteria. He exposes flaws in the arguments of sceptics for whom there can be no such thing as objectively good art. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

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Paperback. Condizione: Like New. LIKE NEW. SHIPS FROM MULTIPLE LOCATIONS. book.

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Condizione: As New. Unread book in perfect condition.

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Hardback. Condizione: New. What is art; why should we value it; and what allows us to say that one work is better than another? Traditional answers have emphasized aesthetic form. But this has been challenged by institutional definitions of art and postmodern critique. The idea of distinctively artistic value based on aesthetic criteria is at best doubted, and at worst, rejected. This book, however, champions these notions in a new way. It does so through a rethink of the mimetic definition of art on the basis of factors which traditional answers neglect, namely the conceptual link between art's aesthetic value and 'non-exhibited' epistemological and historical relations.These factors converge on an expanded notion of the artistic image (a notion which can even encompass music, abstract art, and some conceptual idioms). The image's style serves to interpret its subject-matter. If this style is original (in comparative historical terms) it can manifest that special kind of aesthetic unity which we call art. Appreciation of this involves a heightened interaction of capacities (such as imagination and understanding) which are basic to knowledge and personal identity. By negotiating these factors, it is possible to define art and its canonic dimensions objectively, and to show that aforementioned sceptical alternatives are incomplete and self-contradictory.

Hardcover. Condizione: new. Hardcover. What is art; why should we value it; and what allows us to say that one work is better than another? Traditional answers have emphasized aesthetic form. But this has been challenged by institutional definitions of art and postmodern critique. The idea of distinctively artistic value based on aesthetic criteria is at best doubted, and at worst, rejected. This book, however, champions these notions in a new way. It does so through a rethink ofthe mimetic definition of art on the basis of factors which traditional answers neglect, namely the conceptual link between art's aesthetic value and 'non-exhibited' epistemological and historicalrelations. These factors converge on an expanded notion of the artistic image (a notion which can even encompass music, abstract art, and some conceptual idioms). The image's style serves to interpret its subject-matter. If this style is original (in comparative historical terms) it can manifest that special kind of aesthetic unity which we call art. Appreciation of this involves a heightened interaction of capacities (such as imagination and understanding) which arebasic to knowledge and personal identity. By negotiating these factors, it is possible to define art and its canonic dimensions objectively, and to show that aforementioned sceptical alternatives areincomplete and self-contradictory. What is art? Why should we value it? Traditional answers have emphasized aesthetic form. This book attempts to restore the mimetic definition of art on the basis of factors which traditional answers neglect, namely the conceptual link between art's aesthetic value and 'non-exhibited' epistemological and historical relations. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Leinen (Buchleinen). Condizione: New. What is art? Why should we value it? Traditional answers have emphasized aesthetic form. This book attempts to restore the mimetic definition of art on the basis of factors which traditional answers neglect, namely the conceptual link between art s aestheti.

Hardback. Condizione: New. What is art; why should we value it; and what allows us to say that one work is better than another? Traditional answers have emphasized aesthetic form. But this has been challenged by institutional definitions of art and postmodern critique. The idea of distinctively artistic value based on aesthetic criteria is at best doubted, and at worst, rejected. This book, however, champions these notions in a new way. It does so through a rethink of the mimetic definition of art on the basis of factors which traditional answers neglect, namely the conceptual link between art's aesthetic value and 'non-exhibited' epistemological and historical relations.These factors converge on an expanded notion of the artistic image (a notion which can even encompass music, abstract art, and some conceptual idioms). The image's style serves to interpret its subject-matter. If this style is original (in comparative historical terms) it can manifest that special kind of aesthetic unity which we call art. Appreciation of this involves a heightened interaction of capacities (such as imagination and understanding) which are basic to knowledge and personal identity. By negotiating these factors, it is possible to define art and its canonic dimensions objectively, and to show that aforementioned sceptical alternatives are incomplete and self-contradictory.

Condizione: new. Questo è un articolo print on demand.

PAP. Condizione: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Condizione: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Paperback. Condizione: new. Paperback. What is art; why should we value it; and what allows us to say that one work is better than another? Traditional answers have emphasized aesthetic form. But this has been challenged by institutional definitions of art and postmodern critique. The idea of distinctively artistic value based on aesthetic criteria is at best doubted, and at worst, rejected. This book, however, champions the traditional notions. It restores the mimetic definition ofart on the basis of factors which traditional answers neglect, namely the conceptual link between art's aesthetic value and 'non-exhibited' epistemological and historical relations.These factors converge on an expanded notion of the artistic image (a notion which can even encompass music, abstract art, and some conceptual idioms). The image's style serves to interpret its subject-matter. If this style is original (in comparative historical terms) it can manifest that special kind of aesthetic unity which we call art. Appreciation of this involves a heightened interaction of capacities (such as imagination and understanding) which are basic toknowledge and personal identity. By negotiating these factors, it is possible to define art and its canonic dimensions objectively, and to show that aforementioned sceptical alternatives are incomplete andself-contradictory. What is art; why should we value it; and what allows us to say that one work is better than another? Paul Crowther uses a philosophical approach to argue that there is such a thing as distinctively artistic value based on aesthetic criteria. He exposes flaws in the arguments of sceptics for whom there can be no such thing as objectively good art. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback / softback. Condizione: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days 488.

Paperback. Condizione: new. Paperback. What is art; why should we value it; and what allows us to say that one work is better than another? Traditional answers have emphasized aesthetic form. But this has been challenged by institutional definitions of art and postmodern critique. The idea of distinctively artistic value based on aesthetic criteria is at best doubted, and at worst, rejected. This book, however, champions the traditional notions. It restores the mimetic definition ofart on the basis of factors which traditional answers neglect, namely the conceptual link between art's aesthetic value and 'non-exhibited' epistemological and historical relations.These factors converge on an expanded notion of the artistic image (a notion which can even encompass music, abstract art, and some conceptual idioms). The image's style serves to interpret its subject-matter. If this style is original (in comparative historical terms) it can manifest that special kind of aesthetic unity which we call art. Appreciation of this involves a heightened interaction of capacities (such as imagination and understanding) which are basic toknowledge and personal identity. By negotiating these factors, it is possible to define art and its canonic dimensions objectively, and to show that aforementioned sceptical alternatives are incomplete andself-contradictory. What is art; why should we value it; and what allows us to say that one work is better than another? Paul Crowther uses a philosophical approach to argue that there is such a thing as distinctively artistic value based on aesthetic criteria. He exposes flaws in the arguments of sceptics for whom there can be no such thing as objectively good art. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Kartoniert / Broschiert. Condizione: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. What is art why should we value it and what allows us to say that one work is better than another? Paul Crowther uses a philosophical approach to argue that there is such a thing as distinctively artistic value based on aesthetic criteria. He exposes flaw.