By Richard Shusterman
The so-called analytic strategy has ruled Anglo-American philosophical enquiry in aesthetics during this century. the first target of this assortment is to evaluate the character, contribution, and carrying on with worth of this method. What, if whatever, characterizes analytic aesthetics? How has it replaced and built through the years? What has been its designated worth? How does it fluctuate from rival modes of enquiry? fresh Marxist, post-structuralist, and post-modernistic theories have steered that we're deep in an age of post-analytic philosophy yet supposedly at the threshhold of a post-philosophical tradition. This quantity not just offers a retrospective evaluation of analytic aesthetics, but in addition exhibits ways that analytic aesthetics can top proceed to serve our realizing of artwork and aesthetics sooner or later. The contributers are Richard Shusterman, J.O.Urmson, Nicholas Wolterstorff, Charles Altieri, Roger Scruton, Christopher Norris, Anthony Savile, Pierre Bourdieu, Joseph Margolis, Catherine Z.Elgin, Nelson Goodman. This account of aesthetics is geared toward graduates and above.
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Extra resources for Analytic Aesthetics
Rather than thinking the significance of art's relation to what the enlightenment represses through an essentially linguistically mediated narrative, what is suggested is a model in which this repression is absolved through the dynamically disjunctive constellation of arts, as that which emerges through what they are not. Thus, rather than treat the antagonism of the arts as a consequence of entrenched alienation, it is conceived as rendering negatively what cannot be rendered positively: that which enlightenment represses: Over and above their empty classificatory concept, we have only negatively unified the arts [Kunstarten] in terms of content: they all repel empirical reality, and tend towards the formation of a sphere qualitatively opposed to it: historically, they secularize the magical and the sacred.
In opposition to diose who present the suspension of aesthetic discrimination as favouring a more democratic pedagogy, Adorno suggests that diose who refuse to discriminate may be colluding in the continued cultural deprivation that is the basis of 'mass' taste. This sets die critics of aesthetic elitism in a more dialectical (not to say equivocal) light: as lending themselves, despite their progressive claims, to a conservative inhibition of popular access to high culture. In condoning a status quo in which readers are to setde for what diey already like, or can identify with, rather than what they might odierwise come to appreciate, this sets a seal of approval on a comfortable radier than ecstatic conception of personal liberation and cultural fulfilment.
DE: 12—13; GS 3: 34) 18 Adorno and Literature The task of the critical self-reflection of the enlightenment for Adorno and Horkheimer is not to try and recover the prelapsarian origin of language or Ursprache immediately. Since this origin is identified with a traumatic threat to self-preservation, this is hardly salvation. And since that origin is necessarily mediated by subsequent forms of culture (such as language as it developed), what that origin is can, at best, only be negatively conceived.
Analytic Aesthetics by Richard Shusterman