George Dickie’s The Century of Taste is a readable and informative guide to the family of eighteenth-century aesthetic . Dickie – Teoria Institucional Da Arte. Arthur Coleman Danto (Ann Arbor, 1 de janeiro de — Nova Iorque, 25 de outubro de cunha a expressão “mundo da arte”, que, por ser mal interpretada, teria levado o filósofo George Dickie a elaborar sua “teoria institucional da arte”. En El círculo del arte, Dickie revisa las anteriores versiones de la teoría institucional, saliendo al paso de las críticas que se han hecho a las mismas, y expone.
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To justify Newtonian science against superstition a institudional argument is needed. Capaldi’s error is, in a way, complementary to Jones’.
Dickie, George 1926-
In this con- nection, see Wilson For an excellent discussion of Hume’s position, cf. For just as Wittgenstein contends that no central “essence” binds together all the different things that are correctly referred to as games, so is one tempted to draw the same anti-essentialist conclusion with regard to works of art.
Among current philosophies of art two programs stand out as responding in especially innovative ways to this anti-essentialist challenge. One is the program of Arthur Danto, who holds that being a representation or being “about” something is an essential and necessary condition for being a arts of art.
Thus Danto tries to assimilate art to representational language, in a broad sense, and looks for insight by judiciously transferring metaphors from one realm to another.
Instead, in Art and the Aesthetic2, Dickie proposed an “institutional” analysis, leading to a kind of sociological defini- tion of a work of art. Dickie’s account has been the teoeia of much discus- sion and criticism and, sensitive to that, Dickie has now revised the in- stitutional theory in a new book called The Art Circle.
The title gives the game away.
As Dickie delightfully puts it: This content downloaded from In the new version, teiria is admit- ted, the circularity is flaunted. The Art Circle, p. In fact what Dickie draws out of critical discussions, including his own, is a mature understanding of what philosophical “definitions” are about, and the ways in which circularity can be a vice, or a virtue.
He introduces the idea of an “inflected concept” as “a member of a set of concepts which bend in on themselves, presupposing and supporting one another.
He puts this idea to work in a kind of art-philosophical dictionary that inflects the concepts of an artist, a work of art, a public, the artworld, and an artworld system. The result is a new institutional theory that Dickie develops and illustrates in terms of the critical literature pertaining to the old one.
This is a slim volume it runs to only pages but it is a gem, polished and worked over with the care the ideas deserve, and with the attention to detail that only someone who cares can give.
It is both an informative essay on the arts, and a sophisticated piece of philosophical reflection. All teogia will read it, as they must.
The Century of George Dickie – [PDF Document]
But the sections on philosophical method, which are at the center of Dickie’s new pro- posal, are important in themselves, and will interest anyone with a con- cern for philosophical analysis. Dickie’s prose is so simple and lucid, here, that these teiria would be especially appropriate for general introduc- tory texts and anthologies where they would be a pleasure to teach.
Although Dickie’s program is essentialist, it is lean to borrow Dickie’s own termand it has such a sociological cast as to almost guarantee that hardcore essentialists will want more. Of course the anti-essentialist challengers present company included will find that what Dickie offers is already too much. It remains to be seen whether the mean that Dickie achieves, although admittedly in a gem of a book, is actually the golden one.
Harvard University Press, Cornell University Press, Responsibility and Free Choice [pp.