518 research outputs found
Tradimenti, appropriazioni, ripensamenti. Arthur C. Danto e l'eredità della filosofia tedesca da Nietzsche a Kant.
No full textCon il presente saggio si intende esplorare l’appassionato confronto di Arthur C. Danto con la filosofia tedesca. Come emergerà, non si tratta né di un’analisi pianificata secondo un preciso ordine cronologico, né di una indagine rigidamente sistematica. In un susseguirsi di irriverenti tradimenti, sincretistiche appropriazioni e coraggiosi ripensamenti, Danto procederà a ritroso, risalendo da Nietzsche a Hegel e da Hegel a Kant. Così facendo - nell’arco della sua lunga e instancabile riflessione filosofica - Danto contribuirà 1) negli anni Sessanta, a introdurre il pensiero di Nietzsche in America 2) negli anni Ottanta, a proporre una originale (dis)lettura della leggenda di hegeliana memoria della “fine dell’arte”, e 3) all’inizio del XXI secolo, a liberare l’estetica di Kant dall’ombra del formalismo di Greenberg, lasciando alla filosofia dell’arte dei nostri giorni una eredità preziosa e ancora, per molti aspetti, da scoprire.The main aim of the present essay is to explore Arthur C. Danto's passionate confrontation with German philosophy. As will emerge, it is neither an analysis planned according to a precise chronological order, nor a rigidly systematic investigation. In a succession of irreverent betrayals, syncretistic appropriations and courageous afterthoughts, Danto will proceed rather backwards, going from Nietzsche to Hegel and from Hegel to Kant. In doing so - during his long and tireless philosophical reflection - Danto will contribute 1) in the sixties, to introduce Nietzsche's thought in America 2) in the eighties, to propose an original (dis)reading of the legend of Hegelian memory of the "end of art" 3) at the beginning of the 21st century, to free Kant's aesthetics from the shadow of Greenberg's formalism, leaving to the philosophy of art of our days a precious legacy still to be discovered in many ways
Arthur Danto's philosophy of art
No full textThe thesis is a critical examination of Danto's philosophy of art. It begins with his
article 'The Artworld' where he proposes a special is of artistic identification to
distinguish artworks. Danto's idea of the artworld is discussed, a historical and
contextual theory of art, which arose from his attempt to explain the difference
between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday
Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld
concept with the special is.
The technique of comparing indiscernible counterparts, from Danto's
book The Transfiguration of the Commonplace, is examined. It is argued that the
technique is philosophically redundant, but it is a redundant premise which has been
added to a valid inference (Danto's historical and contextual view of art: his artworld
theory) therefore, this does not make the original inference invalid.
Danto's treatment of metaphor, expression, and style is shown to result
in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share
features of metaphor: they are intensional (with an s) in structure and cannot be
paraphrased. Third, a work of art expresses what it is a metaphor for by the way it
depicts its subject. Fourth, artworks embody style.
The conclusion, has two parts. The first part gives a summary of the
criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept
of the is of artistic identification and in his use of indiscernible counterparts, (2) his
theory suffers by being over-inclusive and (3) he uses circular arguments. The
second part is based on a response to the criticism: it provides a definition of art.
This has three elements. First, an argument is proposed for a spectrum of artistic
presence in which all human activity and artefacts can be placed. Second, there is an
acceptance of Danto's view of art (or artistic presence) being both intentional (with
a t) and intensional (with an s); however, by applying these concepts to a spectrum,
the problem of over-inclusiveness is avoided. Finally, it is argued there can he no
wholly non-circular account of art
Arthur C. Danto, Andy Warhol, Yale University Press, New Haven - London, 2009, pp. 162
No full textThe text offers a Critical Review of "Andy Warhol" by Arthur C. Danto. The author critically reflects on the book by considering its methodologies, its arguments, and its relation with other books of the same type and on the same subject.Il testo propone una Lettura Critica del libro "Andy Warhol" di Arthur C. Danto. L'autrice riflette criticamente sul libro considerandone le metodologie, gli argomenti e il nesso con altri libri dello stesso tipo e sullo stesso argomento
The Philosophy of Arthur C. Danto
No full textArtículo de publicación ISIReseña de libro: The Philosophy of Arthur C. Danto
Randall E. Auxier and Lewis Edwin Hahn (eds.)
Open Court Press; Southern Illinois University Press. 2013. pp. 816. £66.99 (HBK)
La explicación histórica: el papel de las narrativas. Apuntes sobre “Narración y conocimiento” de Arthur C. Danto / The Historical Explanation: The Part Played by Narratives. Notes on Narration and Knowledge in Arthur C. Danto
No full textEl autor sostiene que Arthur C. Danto, al tratar de fundamentar a la historia como una ciencia positiva, una ciencia que explica y que por fuerza tiene que poder probarse objetivamente, ofreció elementos que hacen posible un conocimiento de algo episódico y no del cambio. Para mostrar esto se concentra en su concepción de las explicaciones históricas, poniendo especial atención en cómo aparece la expresión del cambio en ellas.Palabras clave: narrativa, Danto, filosofía, historia, ciencia. The author proposes that while Arthur C. Danto tried to found history as a positive science, one that explains and that necessarily has to be proven objectively, he offered elements that make the knowledge of episodes possible but not of change itself. In order to show this, the author considers Danto’s conception of historic explanations, paying special attention in how the expression of change appears in them.Keywords: narrative, Danto, philosophy, history, science. Artículo recibido: 8-2-2016Artículo aceptado: 15-10-201
Danto, arthur c., después del final del arte. el arte contemporáneo y el linde de la historia
No full textEsta reseña sobre el libro de Arthur C. Danto se presentó en un seminario de profesores de la maestría en Historia y Teoría del arte y la Arquitectura en el segundo semestre de 2001. En ella se busca explicar el significado del título del libro, para lo que se hacen alguna referencia al tema de las narrativas, que se vincula directamente con la visión que tiene Danto de la historia del arte. A partir de este concepto del autor se busca definir la condición de la obra de arte contemporánea, que pertenece al periodo que Danto denomina como "posthistórico". Por último, en esta reseña, se mencionan los problemas críticos que esta obra genera
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