Efnisyfirlit

• Cover
• Half-Title
• Series
• Title
• Copyright
• Dedication
• Contents
• Illustrations
• Preface
• Introduction: Aesthetics and the Philosophy of Art: an Extremely Brief History
• I. On art and beauty
• II. The ancient period
• III. The Middle Ages
• III. The Middle Ages
• 1. Defining Art
• I. Fountain (1917)
• II. On definitions
• III. Art as representation
• IV. Art as form
• V. Art as expression
• VI. Art and aesthetic function
• VII. On not defining art
• VIII. Art and the artworld
• IX. Art and art history
• 2. The Ontology of Art
• I. Alabama Tenant Farmer Wife (1936) and After Walker Evans: 4 (1981)
• II. On ontology
• III. Artworks as physical objects
• IV. Singular and multiple artworks
• V. Types and tokens
• VI. Constructivism
• VII. Mental works and action types
• 3. Interpretation and Intention
• I. Fahrenheit 451 (1953)
• II. On interpretation
• III. The Romantics
• IV. Anti-intentionalism
• V. Post-structuralism
• VI. Intentionalism revisited
• VII. Hypothetical intentionalism
• VIII. The Patchwork Theory
• 4. Aesthetic Properties and Evaluation
• I. Black Square (1915)
• II. On evaluation
• III. The search for objective beauty
• IV. Taste
• V. Aesthetic properties
• VI. Contextualism
• VII. The value of art
• 5. Emotions and the Arts
• I. Coronation Street (1960–)
• II. On art and emotion
• III. The paradox of fiction
• IV. The problem of tragedy
• 6. Art and Morality
• I. Helena (2000)
• II. On ethics and aesthetics
• III. Radical moralism and autonomism
• IV. Moderate moralism and autonomism
• V. Arts funding and censorship
• 7. Aesthetics Without Art
• I. The greater adjutant stork
• II. On beauty and nature
• III. Natural aesthetics
• IV. Environmental aesthetics
• V. Everyday aesthetics
• Notes
• Bibliography
• Index