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On the Very Idea of a Language of Art: Aesthetics and Common Sense
Full text linkIn a number of writings that were only narrowly circulated, Richard Wollheim took a stand against two pivotal theses at the centre of aesthetic reflection and, above all, of critical and historical-artistic practices: i) that art is a language (and thus artistic meaning is produced and understood in the same way as linguistic meaning); ii) that art inherently is a form of communication. In Wollheim’s view, such theses are the mainstream conceptions shared by disciplines and approaches as diverse as semiotics, hermeneutics, structuralism, post-structuralism, deconstructionism, and a significant portion of cognitive science. In this paper, I mainly concentrate on (i) and I reconstruct, discuss and defend Wollheim’s arguments against a recent interpretive misunderstanding that deems them inadequate vis à vis Donald Davidson’s philosophy. My contention is instead that, at a closer analysis, the latter works in fact as a pivot to Wollheim’s aesthetics, especially against the arguments put forth by Nelson Goodman, the most rigorous defendant of (i) and (ii)
Il concetto di medium artistico: Richard Wollheim interprete di Ludwig Wittgenstein
Full text linkThe aim of the dissertation is twofold: (i) analyzing the notion (well known by aestheticians, but not so intensively studied) of artistic medium; (ii) showing the relevance of such notion for aesthetics through the examination of some relevant aspects of Richard Wollheim’s philosophy of art, maybe the main figure in Anglo-American philosophy as for considering artistic medium central in art-theorizing. Artistic media, according to Wollheim, can develop only if properly connected to a cultural and social context, i.e. a form of life. Concordantly the research turns, in the first part, to an accurate examination of Wittgenstein’s aesthetical reflections – from the early to the mature period – particularly focusing on expression, intransitivity, aesthetic correctness, and artistic rules since these are the concepts fruitfully (though often implicitly) exploited by Wollheim in articulating his notion of artistic medium. In the second part, it is shown how Wollheim creatively applies media considerations to other important areas of aesthetic interest, such as artistic intention and the ontology of artworks. Through the case-study of artistic medium, then, the philosophical personality of Richard Wollheim is seen as one of the most original interpreter of Wittgenstein’s legacy
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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