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"Fine words and an insinuating appearance are seldom associated with true virtue."
- Confucius
(551 BC - 479 BC),
The Confucian Analects
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ZIN Product Number: 10036692
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| | | |  | | | Product Details
 Format: Hardcover, 304 pages
Publisher: Oxford University Press
ISBN: 0195128605
Release Date: Jan 11, 2002
| |  | | | From The Publisher
What, if anything, has art to do with the rest of our lives, and in particular with those ethical and political issues that matter to us most? Will art created today be likely to play a role in our lives as profound as that of the best art of the past?
A Theory of Art shifts the focus of aesthetics from the traditional debate of "what is art?" to the engaging question of "what is art for?" Skillfully describing the social and historical situation of art today, author Karol Berger argues that music exemplifies the current condition of art in a radical, acute, and revealing fashion. He also uniquely combines aesthetics with poetics and hermeneutics. Offering a careful synthesis of a wide breadth of scholarship from art history, musicology, literary studies, political philosophy, ethics, and metaphysics, and written in a clear, accessible style, this book will appeal to anyone with a serious interest in the arts.
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| | | |  | | | | Prologue: The Function and Value of Art | 3 | | Part I | Aesthetics: The Ends of Artworks | 13 | | Chapter 1 | Aesthetics I. The Nature of Art | 15 | | a. | The Media of Culture | 15 | | b. | Visual Media | 19 | | c. | Music | 28 | | d. | Language | 39 | | e. | Works and Performances, Originals and Copies | 52 | | f. | Representations and Arguments | 57 | | Chapter 2 | Aesthetics II. The Uses of Art | 65 | | a. | The Ethical Life | 65 | | b. | Art and History | 75 | | c. | Art and Philosophy | 80 | | d. | Art, Religion, and the State | 90 | | e. | Pleasure | 99 | | Chapter 3 | Aesthetics III. The Genealogy of Modern European Art Music | 108 | | a. | Social Practices and Their Histories | 111 | | b. | Functional and Autonomous Music | 115 | | c. | The Rise of Mimetic Music | 120 | | d. | The Rise of Abstract Music | 133 | | e. | The Cold War of Mimesis and Abstraction | 139 | | f. | The Significance of Abstraction | 152 | | Part II | Poetics and Hermeneutics: The Contents and Interpretation of Artworks | 163 | | Chapter 4 | Poetics I. Diegesis and Mimesis: The Poetic Modes and the Matter of Artistic Presentation | 165 | | a. | The Voices | 166 | | b. | The Modes in Painting and Music | 170 | | c. | The Author, Implied and Real, Dead and Alive | 184 | | Chapter 5 | Poetics II. Narrative and Lyric: The Poetic Forms and the Object of Artistic Presentation | 189 | | a. | Narrative and Lyric | 190 | | b. | The Forms in Painting and Music | 196 | | c. | Action and Passion | 202 | | Chapter 6 | Hermeneutics. Interpretation and Its Validity | 213 | | a. | Interpretation: Metaphor and Metonymy | 213 | | b. | Validity: Persuasion and Legitimacy | 227 | | Epilogue: The Power of Taste | 235 | | Notes | 245 | | Selected Bibliography | 269 | | Index | 277 |
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| | | | | | Keywords
Arts, Philosophy, Aesthetics, Poetics, General, Art, Philosophy, Poetics, Aesthetics, Arts
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