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Contextualizing Aesthetics
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Preface. Introduction. PART I: HISTORY. A: The Ancient (Greek and Roman) Period. Plato, The Republic. Plato, Cratylus. Aristotle, The Poetics. Longinus, On the Sublime. B: The Modern (18th and 19th-Century) Period. Edmund Burke, The Sublime and the Beautiful. David Hume, Of The Standard of Taste. Immanuel Kant, The Critique of Judgment. Georg W.F. Hegel, Aesthetics. Arthur Schopenhauer, The World as Will and Idea. Nietzsche, Art and the Will to Power. PART II: THE ANALYTIC CRITIQUE OF THE AESTHETIC. Anita Silvers, Letting the Sunshine In: Has Analysis Made Aesthetics Clear? A: The Analytic Critique of Aesthetic Experience. Monroe Beardsley, The Aesthetic Point of View. George Dickie, The Myth of the Aesthetic Attitude. B: The Problem of Defining Art. Arthur Danto, The Artistic Enfranchisement of Real Objects: The Artworld. George Dickie, The Art Circle. C. The Status of the Work of Art. Richard Wollheim, Art and Its Objects. Jerrold Levinson, What a Musical Work Is. D. The Analytic Critique of The Expression Theory of Art. Jenefer Robinson, The Expression and Arousal of Emotion in Music. PART III: CONTINENTAL AND CONTEMPORARY THEORY. A. Myths of Modernism. Rosalind E. Krauss, Introduction to the Originality of the Avant-Garde and Other Modernist Myths. Paul de Man, The Resistance to Theory. Roland Barthes, From Work to Text. Robert Venturi, Complexity and Contradiction in Architecture. B. Art and Postmodernity. Michel Foucault, This Is Not a Pipe. Gilles Deleuze, Nomadic Philosophy of Art. Paul Crowther, Postmodernism in the Visual Arts. C. Critique of Truth. Martin Heidegger, The Origin of the Work of Art. Meyer Shapiro, The Still Life as a Personal Object-A Note on Heidegger and van Gogh. Jacques Derrida, The Truth in Painting. D. Cultural Materialism. Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction. Theodor Adorno, Aesthetic Theory. Tony Bennett, Really Useless Knowledge: A Political Critique of Aesthetics . Griselda Pollock, Feminist Art Histories and Marxism . E. The Postmodern Sublime. Jean-Francois Lyotard, The Sublime and the Avant-Garde. Fredric Jameson, Postmodernism. Jean-Francois Lyotard, Presenting the Unpresentable: The Sublime. BIBLIOGRAPHY. INDEX.

About the Author

A member of the English Department at Cleveland State University, Professor Jennifer Jeffers teaches a variety of 20th Century British and Irish Literature courses, critical theory, culture studies and film courses. She has edited a collection of essays on Samuel Beckett's drama, SAMUEL BECKETT: A CASEBOOK (Garland, 1998); she also has a new book under contract, GENDER, BODIES AND POWER: THE IRISH NOVEL IN THE LAST DECADE OF THE TWENTIETH CENTURY (St. Martin's Press) and a manuscript forthcoming (Peter Lang), UNCHARTED SPACE: THE END OF NARRATIVE, which combines her interests in 20th Century aesthetics, theory, painting and literature. Professor Jeffers has articles in Mosaic, The Journal of Narrative Technique, Text & Presentation and Critique: Studies in Contemporary Fiction (forthcoming).

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Preface. Introduction. PART I: HISTORY. A: The Ancient (Greek and Roman) Period. Plato, The Republic. Plato, Cratylus. Aristotle, The Poetics. Longinus, On the Sublime. B: The Modern (18th and 19th-Century) Period. Edmund Burke, The Sublime and the Beautiful. David Hume, Of The Standard of Taste. Immanuel Kant, The Critique of Judgment. Georg W.F. Hegel, Aesthetics. Arthur Schopenhauer, The World as Will and Idea. Nietzsche, Art and the Will to Power. PART II: THE ANALYTIC CRITIQUE OF THE AESTHETIC. Anita Silvers, Letting the Sunshine In: Has Analysis Made Aesthetics Clear? A: The Analytic Critique of Aesthetic Experience. Monroe Beardsley, The Aesthetic Point of View. George Dickie, The Myth of the Aesthetic Attitude. B: The Problem of Defining Art. Arthur Danto, The Artistic Enfranchisement of Real Objects: The Artworld. George Dickie, The Art Circle. C. The Status of the Work of Art. Richard Wollheim, Art and Its Objects. Jerrold Levinson, What a Musical Work Is. D. The Analytic Critique of The Expression Theory of Art. Jenefer Robinson, The Expression and Arousal of Emotion in Music. PART III: CONTINENTAL AND CONTEMPORARY THEORY. A. Myths of Modernism. Rosalind E. Krauss, Introduction to the Originality of the Avant-Garde and Other Modernist Myths. Paul de Man, The Resistance to Theory. Roland Barthes, From Work to Text. Robert Venturi, Complexity and Contradiction in Architecture. B. Art and Postmodernity. Michel Foucault, This Is Not a Pipe. Gilles Deleuze, Nomadic Philosophy of Art. Paul Crowther, Postmodernism in the Visual Arts. C. Critique of Truth. Martin Heidegger, The Origin of the Work of Art. Meyer Shapiro, The Still Life as a Personal Object-A Note on Heidegger and van Gogh. Jacques Derrida, The Truth in Painting. D. Cultural Materialism. Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction. Theodor Adorno, Aesthetic Theory. Tony Bennett, Really Useless Knowledge: A Political Critique of Aesthetics . Griselda Pollock, Feminist Art Histories and Marxism . E. The Postmodern Sublime. Jean-Francois Lyotard, The Sublime and the Avant-Garde. Fredric Jameson, Postmodernism. Jean-Francois Lyotard, Presenting the Unpresentable: The Sublime. BIBLIOGRAPHY. INDEX.

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