

Diferent works have diferent ambitions, some closer to the ambition of crafsmanship, some closer to the ambitions of mythology. The arts are valuable for all sorts of reasons: enjoyment, play, beauty, or simply as an enrichment of the human experience of the human. A philosophical illumination of artworks and a philosophy illuminated by attention to artworks are not ofered as a delimitation of the only or main value of the arts. Misunderstandings are inevitable in this context. The claim is twofold: that criticism properly understood ofen requires a form of philosophic refection, and that philosophy is impoverished if it is not informed by critical attention to aesthetic objects. The approach is a form of criticism that I want to call philosophical, a contribution to philosophy, even if not in the analytic and discursive form traditionally characteristic of academic philosophy. Coetzee’s Elizabeth CostelloĪcknowledgments 257 Works Cited 259 Index 267Ī Continuation What follows is an attempt to develop an approach to understanding aesthetic objects. Pa r t 2 Philosophy in the Arts 9 On Maisie’s Knowing Her Own Mindġ1 The Shadow of Love: The Role of Jealousy in Proust’s À la recherche du temps perduġ2 The Paradoxes of Power in the Early Novels of J. Pa r t 1 The Arts in Philosophy 1 Philosophical Criticismģ The Status of Literature in Hegel’s Phenomenology of Spirit: On the Lives of ConceptsĤ The Absence of Aesthetics in Hegel’s AestheticsĦ Authenticity in Painting: Remarks on Michael Fried’s Art Historyħ Photography as Art: Fried and IntentionĨ Adorno, Aesthetic Negativity, and the Problem of Idealism p57 2021 | ddc 111/.85-dc23 LC record available at ♾ This paper meets the requirements of ansi/niso z39.48-1992 (Permanence of Paper). | Includes bibliographical references and index. Other titles: Arts in philosophy and philosophy in the arts Description: Chicago London : The University of Chicago Press, 2021. Title: Philosophy by other means : the arts in philosophy and philosophy in the arts / Robert B. For more information, contact the University of Chicago Press, 1427 E. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews.

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