Arthur C. Danto has long defended essentialism in the philosophy of art, yet he has been interpreted by many as a historicist. This essentialism/historicism conflict in the interpretation of his work reflects the same conflict both within his thought and, more importantly, within modern art itself. Danto's strategy for resolving this conflict involves, among other things, a Bildungsroman of modern art failing to discover its essence, an essentialist definition of art provided by philosophy which is indemnified against history, and (...) a thesis about the end of art once it has been defined. Is this strategy successful, or does it result, as I argue, in a philosophical disenfranchisement of art of precisely the type that Danto himself has criticized? (shrink)

While Hegel’s influence on Arthur Danto has been examined in relation to specific parts of his thought, an overall analysis of said influence is still wanting. In this article, I analyze the presence of Hegelian influence in Danto’s complete thought from three perspectives: (1) Danto’s acceptance of Hegelian assumptions when it comes to the conception of history, narrative realism and historical progress, which allows him to combine timeless essentialism with historicism, (2) the cognitive aspect of art and the conception of (...) art as an embodied symbol, as well as the historical quality of said embodiment, and (3) the assumption that art’s trajectory coincides with the Hegelian prophecy that art will give way to philosophy, on which Danto’s “end of art” thesis is based. This examination not only illuminates the interrelation between the different parts of Dantian philosophy, but also reveals its systematic character. (shrink)

The place that Arthur Danto gives to history, as constitutive to as and our world, as well as a discipline able to produce knowledge of the past, reach its cenit with his philosophy of art. In “the End of Art”, Danto announces an end of the history of the search of the philosophical definition of art and the beginning of the era of pluralism. It is in this account where essencialism and historicism are combined in a way that estimules a (...) heat debate that continues today. In this paper, I give a reconstruction of Danto’s Philosophy of historical language in order to show why this combination is possible and which compromises that should be assumed by an authentic historicism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hegel and Herder on Art, History, and ReasonKristin GjesdalThe introduction of a historical perspective in aesthetics is usually traced back to Hegel's 1820 lectures on fine art. Given at the University of Berlin, these lectures were amongst Hegel's most successful and best attended.1 By then a recognized intellectual figure, Hegel sets out to salvage art from its subjectivization in Kantian and romantic aesthetics, but ends up declaring that art, (...) considered in its highest vocation, is a thing of the past. This judgment on art—that its greatness is a thing of the past—follows from Hegel's attempt to combine a notion of art's historicity with a conception of its absolute essence. Hegel, however, was not the first to think systematically about the historicity of art. For this aspect of art—and, indeed, of reason too—was explored philosophically a good sixty years before Hegel's Berlin lectures by a young and aspiring student of Kant's, namely Johann Gottfried Herder. In a series of essays and fragments, Herder develops an advanced and elaborate alternative to Hegel's conception, a fundamentally non-essentialist approach to art, history, and reason.Over the past twenty years or so, Hegel's attempt to combine an essentialist and an historicist approach to art has been revitalized, with increasing force and sophistication, by Arthur Danto.2 The attempts to rehabilitate Herder's aesthetics, however, have been few and far between.3 This is the aim of the present essay, which seeks to contrast the young Herder's non-essentialist understanding of the historicity of art with Hegel's essentialist views on the artwork's historicity, pleading for a rehabilitation of the former.4 I approach this task from three different directions. First, I offer a brief account of Herder's and Hegel's views on reason, history, and art. Second, I look closer at their conceptions of classical tragedy and sculpture, which, due to Winckelmann's studies, [End Page 17] were perceived at the time as the gateway to a historically sensitive conception of culture as such. Finally, I round off by looking at some of the hermeneutic implications of Herder's non-essentialist standpoint.IAccording to Hegel, a phenomenologically mature and accountable philosophy is distinguished by its readiness to reflect on its own, historical presuppositions. It must acknowledge the critical commitments of modern thinking, but also take into account how these commitments are the result of spirit's laborious journey through history. Only by combining the perspective of modernity with the resources of tradition may philosophy inhabit a place where systematicity and historicity concur. Reality may now be exhausted in the form of a speculative logic. This, according to Hegel, is the end of history, but as the end of history, it is also the dawn of a new era, that of free and self-determining spirit.Hegel's notion of the end of history testifies to a formidable optimism about the power of critical thought. In modernity, Hegel claims, art and religion no longer emerge as adequate media of self-reflection. It is philosophy that has taken on this task. Considered from the standpoint of modernity, religion and art are no longer appropriate forms of expression; now only the conceptual optics of philosophy adequately reflects our deepest truths and values.5Artistically speaking, this moment may well emerge as a loss. For even though Hegel never claims that art, as such, will no longer be produced,6 he reckons it will not be produced in the same spirit as before. No longer expressive of a shared, ethical and political commitment, art is not brought forth by necessity. Intellectually speaking, however, the end of art triggers a different response. Not only does the end of art represent another step towards the conceptual self-determination of spirit. It also follows that only when a phenomenon such as art has finally fulfilled its historical possibilities can it be brought to philosophical clarity about itself. Only after art can we know conceptually what art is. Aesthetics can only begin at the point when art, considered in its highest vocation, no longer holds a historical future.IIAs a young and... (shrink)

Richard Rorty, a neo-pragmatist well known for his anti-universalist philosophy, applies his anti-universalist approach to feminism in the paper titled “Feminism and Pragmatism” (1991). In this paper, Rorty claims that universalism is not helpful for feminists in making changes to a masculinist society. In contrast, the main point of my paper is to defend universalism as appropriate to feminism. It is not, however, argued in the form of advocacy for all versions of universalism. I will classify universalism into two distinguished (...) types, ahistoricist-essentialist universalism and historicist, anti-essentialist universalism, and I will defend the latter as consonant with feminism and with Rorty’s own pragmatist approach. (shrink)

이 글의 목적은 단토의 예술철학이 함축하고 있는 급진성의 소재가 ‘역사적 본질주의’가 아니라 ‘과도한 해석주의’에 있다는 사실을 드러내는 데 있다. 캐롤을 비롯해 단토를 역사적 본질주의자로 규정하고 있는 비판자들은 단토가 예술의 종언 논제와 함께 예술에 대한 필요충분조건적인 정의를 시도함으로써, 그 스스로 비판했던 표현주의 이론의 한 형태 또는 반다원적인 서사학으로 나아가고 있다고 평가한다. 그 비판의 핵심은 예술사를 기술사적인 분석이 아니라 자기인식에 도달하는 발전사적 예술사로 그리면서, ‘예술의 실재’가 그 역사 속에서 드러날 것이라는 단토의 주장을 향하고 있다. 철학과 예술이 공동의 서사를 갖는다고 믿는 단토에게 동시대의 (...) 예술은 철학적 사고의 일부가 되었지만, 단토의 비판자들은 단토가 예술의 내적 역사를 오히려 박탈하는 역사적 본질주의를 제시하고 있다고 주장한다.BR 그러나 필자는 단토의 예술의 종언이 보여 주는 급진성은 예술작품에서 의미가 발생하는 지형도 자체를 반실재론적 의미이론으로 전환하려는 데 있다고 판단한다. 단토는 언어철학의 시각에서 예술작품에 대한 이해를 다수의 믿음체계를 가지고 있는 예술계에 의한 해석의 문제로 전환한다. 단토의 예술의 종언은 예술작품의 정체성 문제를 온전히 ‘은유적 실재’의 문제로 전환하기 위한 논제로 작용하고 있으며, 이러한 전환의 기저에는 지각적으로 동일한 물리적인 사물에서 어떻게 의미의 변형들이 발생할 수 있는가에 대한 문제의식이 자리 잡고 있다. 그렇지만 사물이 정신의 영역 안에 있다고 주장하는 단토의 해석이론에는 해석의 다원성을 강조하는 ‘해석공식’만이 제시될 뿐, 그 해석들이 어떻게 이해가능한 의미들로 존재론적 차이를 확보할 수 있는가에 대한 해명은 이루어지지 않았다. 그 결과 단토의 예술철학은 해석의 과정을 온전히 예술계의 이론적 구성의 문제로 치부함으로써, 그 유용성을 상실할 만큼 과도한 해석주의라는 더 근원적인 문제를 불러온다. (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...) strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

In his latest book about art Arthur Danto claims that aesthetic appearance-visuality in the visual arts-has become more and more irrelevant for most of contemporary art. This essay first immanently critiques the distinction between the aesthetic and artistic properties underlying this claim. Danto's claim about the irrelevance of the aesthetic is not compatible with the spirit of his own writings: what Danto denies in After the End of Art has been a cornerstone of his theoretical work since The Transfiguration of (...) the Commonplace, namely, that the aesthetic is indeed both an elementary and a defining property of art. Examples ranging from Duchamp's Fountain to a recent installation by the Art & Language group are discussed to support this critique. Second, the essay defends Danto's contention that developing a "definition of art" is a sensible enterprise. But it turns out that Danto's "essentialism" concerning art has no essentialist implications in any specific sense. (shrink)

ABSTRACT: With this article, I advance a historicist and relativist feminist philosophy of disability. I argue that Foucault’s insights offer the most astute tools with which to engage in this intellectual enterprise. Genealogy, the technique of investigation that Friedrich Nietzsche famously introduced and that Foucault took up and adapted in his own work, demonstrates that Foucault’s historicist approach has greater explanatory power and transgressive potential for analyses of disability than his critics in disability studies have thus far recognized. (...) I show how a feminist philosophy of disability that employs Foucault’s technique of genealogy avoids ahistorical, teleological, and transcultural assumptions that beleaguer much work in disability studies. The article also situates feminist philosophical work on disability squarely in age-old debates in (Eurocentric) Western philosophy about universalism vs. relativism, materialism vs. idealism, realism vs. nominalism, and freewill vs. determinism, as well as contributes to ongoing discussions in (Western) feminist philosophy and theory about (among other things) essentialism vs. constructivism, identity, race, sexuality, agency, and experience. (shrink)

In this article I will discuss some systematic issues of Arthur Danto's philosophy of art and art history from a Hegelian perspective. Belonging to "Absolute Spirit," art can be called a "spiritual kind." Since spiritual kinds are reflective and self-determining, they are not susceptible to philosophical definition. Nevertheless, elements of essentialism can be maintained when describing art's historicity and conceptual structure. To this end, "art" can be interpreted as a two-tier concept: in inherently reflecting its concept, it projects its own (...) conditions into the past, co-opting "prehistorical" artworks as predecessors and classical examples. Hegel's view of art as conceptually structured in itself can have disenfranchising or reenfranchising consequences: either reducing art to minor philosophy, or acknowledging its privileged access to its own essence. After Danto's detachment of the philosophy of art from aesthetics, Hegel would himself be deprived of the possibility to "define" art by intuition . Even if the spirit consists of essential kinds, philosophy is not in a privileged position to establish the essence of art and thus the difference between art and philosophy. Rather, philosophy must acknowledge art as a neighbor and as partner in a dialogue. (shrink)

In his critique of historicism and utopian social engineering, Karl Popper treats various writers – notably, Plato, Hegel, and Marx – as expounding these mistaken ideas, and as illustrating the threat they pose to ‘the open society’. Among contemporaries, one of those he singles out for criticism is the sociologist Karl Mannheim. While he spends relatively little time discussing Mannheim’s work compared to that of Plato and Marx, I argue that Ideology and Utopia and Man and Society in an Age (...) of Reconstruction may have had particular significance for Popper. I examine his evaluation of Mannheim’s work, assessing its accuracy, and what it reveals about the similarities and fundamental differences in the orientations of these two writers, both of whom had a significant impact upon social science in the twentieth century. (shrink)

Throughout his lengthy career Arthur Danto made significant and original contributions to action theory, historical narrative, and epistemology. He became best known however for his work as an art critic in the Nation, Artnews and elsewhere, and for his philosophical publications on art theory, beginning with his early (1964) article “The Artworld.” In fact, Danto’s views on art are emblematic of his overall philosophy: he managed to reconcile conflicting philosophical sensibilities without short-schrifting them. He appreciates both Hegel and postmodernism, but (...) his own philosophy is a good deal less radical than most postmodernisms in that he denies that philosophy is a radically historicist enterprise. (shrink)

This chapter contains sections titled: Hegel, Hegelianism, and Historicism The Old Chisholm Trail: Historical Facts, Bits of Knowledge Artworks, The Artworld, and The Brillo Box Revolution The End of Art: Not the End at All Individualism Triumphant Danto and Nietzsche: A Hegelian Synthesis.

RESUMO A definição de arte desenvolvida por Arthur Danto pressupõe que algo é uma obra de arte por ser o correlato de uma interpretação, inscrita em uma rede de significações históricas, teóricas e sociais, que lhe atribui o estatuto de obra de arte. Trata-se de uma definição essencialista que, no entanto, não se funda em algo que é percebido no objeto, mas no objeto percebido como arte. Levando em consideração que o conceito de “interpretação” é um dos pontos cardinais da (...) definição de arte de Danto, aprofundo neste artigo uma investigação específica sobre o assunto. Argumento que o modo como o autor o desenvolve comporta uma ambiguidade, isto é, que há uma confusão entre dois sentidos de interpretação nos textos dantianos, e que seu papel fundamental na definição de arte é inseparável da contextualização histórico-social possibilitada pelo mundo da arte. ABSTRACT Arthur Danto’s definition of art claims that something is a work of art because it is the subject of an interpretation that is inscribed in a network of historical, theoretical and social meanings, which is responsible for assigning the status of artwork. It is an essentialist definition which however, is not based on something that is perceived in the object, but on the object being perceived as art. In this paper, I develop a specific investigation about the concept of “interpretation”, taking into account that it is one of the cardinal points in Danto’s definition of art. I argue that the author develops this subject in an ambiguous way, in other words, that there is confusion between two different meanings of interpretation in his texts, and that its fundamental role in the definition of art is inseparable from the historical and social contextualization guaranteed by the artworld. (shrink)

The article focuses on the theme of the “End of Art” in the philosophy of Arthur C. Danto, a concept he developed in his writing in the mid-1980s. Departing from the historical framework developed since Analytical Philosophy of History (1965) and adopting an interpretive Hegelian approach to the construction of history, Danto’s thought grapples with several contradictions. These contradictions encompass the notion of the “End of Art”, ultimately leading to a reduction of art to an idealized level. Consequently, this highlights (...) the irreconcilability between Essentialism and Historicism, furthering the philosophical disenfranchisement of art. (shrink)

ABSTRACT This paper will follow a path that intends to go beyond the bifurcating interpretations between ahistorical essentialism and historicist relativism with regard to the theoretical elaboration of “human nature” by the young Marx, analyzing it from the conception of the body as a dialectical unit between nature and history as it appears in his Manuscripts of 1844. Why does Marx focus on a theoretical elaboration of the production of human corporality while criticizing work under capital in these Manuscripts (...) that represent, in his trajectory, the beginning of his studies on political economy and the inauguration of his dialectical materialism? From an analysis of the notebooks that make up these Manuscripts, we will demonstrate that there is a theorization of the body that involves transhistorical aspects - the vital connection with the “inorganic body” that is the earth - and historical in the form of mediation of this relationship and that such theorizing has the methodological value of providing historical-materialist premises as a counterpoint to the ahistorical premises of political economy as well as the inversion of the Hegelian dialectic under the starting point of the “corporeal human”, enabling a point of view from which we can overcome a way of “pathological” mediation. (shrink)

Arthur Danto is the Johnsonian Professor Emeritus of Philosophy at Columbia University and the most influential philosopher of art in the last half century. As an art critic for The Nation for 25 years and frequent contributor to other widely read outlets such as the New York Review of Books, Danto also has become one of the most respected public intellectuals of his generation. He is the author of some two dozen important books, along with hundreds of articles and reviews (...) which have been the center of both controversy and discussion. In this volume Danto offers his intellectual autobiography and responds to essays by 27 of the keenest critics of his thought from the worlds of philosophy and the arts. The book includes 16 pages of color art reproductions. Danto is the author dozens of books on art, philosophy, the philosophy of art, and art criticism. He is a rare philosopher who is also a public intellectual. (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist (...) discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

The concepts of embodiment and medium lie at the core of Arthur Danto's philosophy. As Danto underlines in Connections to the World, one speaks of embodiment when describing a state in which two objects with different properties constitute a single object, as the mind and body together constitute the human being. Humans are basically entes rapresentantes as their representative ability, their ability to process thoughts and incorporate them in language and, ultimately, their willingness to produce and enjoy art, are key (...) elements to their nature. The chapter explores, drawing on Danto's account of embodiment, how some of the properties that are attributed to a representation depend on how it is embodied. Danto deals with the visual arts in a particular way, although he always believed that his philosophy of art was essentialist and universally applicable to any form of art. (shrink)

Now in its third edition, _Narration and Knowledge_ is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events and discusses why such sentences cannot be understood until the later event happens. Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist (...) discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of _Narration and Knowledge_ and considers its enduring legacy. (shrink)

Arthur C. Danto's essays not only critique bodies of work but reflect upon art's conceptual evolution as well, drawing for the reader a kind of "philosophical map" indicating how art and the criteria for judging it has changed over the twentieth century. In _Unnatural Wonders_ the renowned critic finds himself at a point when contemporary art has become wholly pluralistic, even chaotic-with one medium as good as another-and when the moment for the "next thing" has already passed. So the theorist (...) goes in search of contemporary art's most exhilarating achievements, work that bridges the gap between art and life, which, he argues, is now the definitive art of our time. Danto considers the work of such young artists as John Currin and Renee Cox and older living masters including Gerhard Richter and Sol LeWitt. He discusses artists of the New York School, like Philip Guston and Joan Mitchell, and international talents, such as the South African William Kentridge. Danto conducts a frank analysis of Matthew Barney's _The Cremaster Cycle_, Damien Hirst's skeletons and anatomical models, and Barbara Kruger's tchotchke-ready slogans; finds the ghost of Henry James in the work of Barnett Newman; and muses on recent Whitney Biennials and art influenced by 9/11. He argues that aesthetic considerations no longer play a central role in the experience and critique of art. Instead art addresses us in our humanity, as men and women who seek meaning in the "unnatural wonders" of art, a meaning that philosophy and religion are unable to provide. (shrink)

A study of the philosophical problems associated with the concept of action. Professor Danto is concerned to isolate logically the notion of a 'basic action' and to examine the way in which context and intention, for example, can convert physiological movements into significant actions. He finds many suggestive parallels between the concepts - the logical architecture - of action and cognition and in developing this theme he becomes involved in and proposes new approaches to various long-standing problems connected with causality, (...) determinism and materialism. As in his earlier books, Analytical Philosophy of History and Analytical Philosophy of Knowledge, Professor Danto places the discussion in a broad historical and philosophical perspective and brings to it a wide reading and an unusual range of interests. He is always prepared to venture novel ideas to stimulate further debate and research and the book as a whole is presented as an original contribution to a subject which is attracting increasing attention from philosophers and from psychologists with an interest in the conceptual assumptions behind their work. (shrink)

From the 1990s until just before his death, the legendary art critic and philosopher Arthur C. Danto carried out extended conversations about contemporary art with the prominent Italian critic Demetrio Paparoni. Their discussions ranged widely over a vast range of topics, from American pop art and minimalism to abstraction and appropriationism. Yet they continually returned to the concepts at the core of Danto’s thinking—posthistory and the end of aesthetics—provocative notions that to this day shape questions about the meaning and future (...) of contemporary art. Art and Posthistory presents these rich dialogues and correspondence, testifying to the ongoing importance of Danto’s ideas. It offers readers the opportunity to experience the intellectual excitement of Danto in person, speculating in a freewheeling yet erudite style. Danto and Paparoni discuss figures such as Andy Warhol, Marcel Duchamp, Franz Kline, Sean Scully, Clement Greenberg, Cindy Sherman, and Wang Guangyi, offering both insightful comments on individual works and sweeping observations about wider issues. On occasion, the artist Mimmo Paladino and the philosopher Mario Perniola join the conversation, enlivening the discussion and adding their own perspectives. The book also features an introductory essay by Paparoni that provides lucid analysis of Danto’s thinking, emphasizing where the two disagree as well as what they learned from each other. (shrink)

In The Abuse of Beauty, art critic and philosopher Arthur Danto explains how the notion of beauty as anathema to art arose and flourished and offers a new way of looking at art and beauty. He draws on the thought of artists, critics, and philosophers such as Rimbaud, Fry, Matisse, and Greenberg, to reposition beauty as one of many modes -- along with sexuality, sublimity, disgust, and horror -- through which the human sensibility expresses itself. 20 black-and-white illustrations are included.

The question about the nature of art is at the centre of the philosophy of art. The thesis seeks to replace the two dominant approaches to this question in contemporary English-speaking philosophy--essentialism and descriptivism--with an historicist approach. The historicist approach I develop and defend holds that answers to the question "What is Art?" must take the form of localized cultural-historical narratives. ;This alternative approach is applied to write the history of the development of what I call "the modern (...) conception of art" in the early eighteenth century. A changing notion of art that emerges in Britain in this period is decisive for all later philosophy of art. Its genesis must be understood in a context of social, political and cultural changes. These changes deeply affected many people's conception of themselves and of their place in society. Social status becomes uncertain, and new criteria for the presentation of the self and evaluation of others emerge. Knowledge about art and the display of taste become indicators of social distinctions and thus criteria for social evaluation, replacing older notions of birth and rank. The modern conception of art emerges as part of new ideas of the presentation of the self, as part of a new ideal of edification. ;In contemporary philosophy of art, the evaluative contents of the conception of art--its historical and contemporary connection to notions of the moral and social order--are seldom discussed. Yet, as I show, these connections exist and have existed for a long time. At the centre of contemporary philosophy of art, therefore, there is a conception of art which is ideological in the sense that it treats the normative as factual and the historically contingent as the natural. Only a historical analysis of the kind I carry out is able to bring to light this aspect of the conception of art presupposed in contemporary philosophy of art. (shrink)

There is a form of intellectual controversy, exhibited throughout the nineteenth century and into our own, which is less accessible because of a radically different order than certain controversies it appears to resemble, namely those which sprang up dramatically between science and religion in this era. Those latter controversies developed chiefly because it was at first supposed that religion was in possession of factual truths which entailed answers incompatible with those offered by science, to just the same factual questions: the (...) age of the universe, the mutability of species, the community of men and beasts or, for the matter, the historicity of sacred writ itself. On the basis of criteria supposed appropriate to the resolution of scientific controversies as such, the factual claims of religion were one by one infirmed, and it seemed then a reasonable projection that more or less the same would happen in any future such collisions. This left certain options open for religionists. They could, like adherents of any infirmed theory, simply give them up like good scientists are supposed to do. Or they could attempt to shun refutation by regarding religious statements as mere mythic paraphrases of recoverable literal scientific statements which were in fact true. Or religion could constitute itself a specialized science, concerned with an area of reality the "other" sciences did not touch upon, purging itself of any statements which then could conflict with those of the "other" sciences. Or finally, it could radically redefine its own scope and office by foreswearing any claim at all to factuality, so that questions of truth or falsity simply no longer would apply, and controversies between it and any discipline to which such questions did apply would be as inconceivable as a truth-contest between chemistry and opera. The Wittgensteinian suggestion that it is not the purpose of religious language to state facts may be seen as a late response to a dilemma which is then resolved by assigning religious utterance to one language game and physics to another. Were this a suitable disposition of the matter, religionists might be grateful for the suffering undergone, for though in the light of it the dilemma need never have arisen, still, had it not done so, religion might never have arrived at a proper consciousness of its own deep character. So the recent history of religion recapitulates its own favorite episodes of trial and purified renascence. (shrink)

Arthur Danto's work has always affirmed a deep relationship between philosophy and art. These essays explore this relationship through a number of concrete cases in which either artists are driven by philosophical agendas or their art is seen as solving philosophical problems in visual terms. The essays cover a varied terrain, with subjects including Giotto's use of olfactory data in _The Raising of Lazarus; _chairs in art and chairs as art; Mel Bochner's Wittgenstein drawings; the work of Robert Motherwell, Andy (...) Warhol, and Robert Irwin; Louis Kahn as "Archai-Tekt"; and visual truth in film. Also featured are a meditation on the battle of Gettysburg; and a celebration of the Japanese artist Shiko Munakata, an essay that is partly autobiographical. Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best. (shrink)

Few philosophers are as widely read or as widely misunderstood as Friedrich Nietzsche. When Danto's classic study was first published in 1965, many regarded Nietzsche as a brilliant but somewhat erratic thinker. Danto, however, presented a radically different picture, arguing that Nietzsche offered a systematic and coherent philosophy that anticipated many of the questions that define contemporary philosophy. Danto's clear and insightful commentaries helped canonize Nietzsche as a philosopher and continue to illuminate subtleties in Nietzsche's work as well as his (...) immense contributions to the philosophies of science, language, and logic. This new edition, which includes five additional essays, not only further enhances our understanding of Nietzsche's philosophy; it responds to the misunderstandings that continue to muddy his intellectual reputation. Even today, Nietzsche is seen as everything from a precursor of feminism and deconstruction to a prophetic writer and spokesperson for disgruntled teenage boys. As Danto points out in his preface, Nietzsche's writings have purportedly inspired recent acts of violence and school shootings. Danto counters these misreadings by elaborating an anti-Nietzschian philosophy from within Nietzsche's own philosophy "in the hope of disarming the rabid Nietzsche and neutralizing the vivid frightening images that have inspired sociopaths for over a century." The essays also consider specific works by Nietzsche, including _Human, All Too Human_ and _The Genealogy of Morals_, as well as the philosopher's artistic metaphysics and semantical nihilism. (shrink)

Those rights are human rights which, in Professor Gewirth's phrase, “all persons equally have simply insofar as they are human.” His task is to demonstrate that there are human rights, and to demonstrate that such demonstration is necessary to the very existence of these rights. “That human rights exist…is a proposition whose truth depends upon the possibility, in principle, of constructing a body of moral justificatory argument from which that proposition follows as a logical consequence.” As philosophers we should no (...) doubt like to be able to prove the existence of human rights – prove that there are such rights in the event that the fool shall have said in his heart that there are none, even using his folly against him by showing his denial to entail its denial – but it is a bold claim that rights are things whose esse est demonstrari. (shrink)

THE CONCEPT of basic action rests upon a not especially controversial observation and a standard sort of philosophical argument. The observation is that there occur a great many actions in which what is said to be done—say a—is not done directly but rather through the agent doing something b, distinct from a, which causes a to happen. Thus I move a stone by pushing against it, and the pushing, itself an action, causes the locomotion of the stone when all relevant (...) conditions are supposed benign. Sometimes an agent m performs an action in which b is done and another occurrence a is caused by b, but as a is only a consequence of b and is not itself said to be done, such cases fall outside the circumference of the observation just described. What falls within that circumference I designate nonbasic actions, leaving it open that there may be species of nonbasic actions other than those specified by this observation. (shrink)

Since 1984, when he became art critic for _The Nation_, Arthur C. Danto, one of America's most inventive and influential philosophers, has also emerged as one of our most important critics of art. As an essayist, Danto's style is at once rigorous, incisive, and playful. _Encounters and Reflections_ brings together many of his recent critical writings—on artists such as Andy Warhol, David Hockney, and Robert Mapplethorpe; and on the significance of issues like the masterpiece and the museum. The result is (...) a spirited brief from the front lines of current aesthetic and philosophical debate. (shrink)

Psychological essentialism is the hypothesis that humans represent some categories as having an underlying essence that unifies members of a category and is causally responsible for their typical attributes and behaviors. Throughout the past several decades, psychological essentialism has emerged as an extremely active area of research in cognitive science. More recently, it has also attracted attention from philosophers, who put the empirical results to use in many different philosophical areas, ranging from philosophy of mind and cognitive science to social (...) philosophy. This article aims to give philosophers who are new to the topic an overview of the key empirical findings surrounding psychological essentialism, and some of the ways the hypothesis and its related findings have been discussed, extended, and applied in philosophical research. (shrink)

"Popular summaries of existentialism and Sartre's ideas have ensured a wide currency for such words as 'absurdity', 'nothingness', 'engagement', 'shame', and 'anguish'. But for Sartre, each of these words embodies a precise philosophical concept which he applies and explores further in his fiction and plays. Synthesized in 'Being and Nothingness' and 'Critique of Dialectical Reason', these concepts comprise a fully articulated philosophical system which, as Arthur C. Danto argues, in its vision and scope, logical responsibility and human relevance, takes its (...) place among the greatest of philosophical achievements. This book offers a synoptic and sympathetic reconstruction of the Sartrean system and in particular Sartre's analysis of the nature of language, consciousness, knowledge, self, and values." --Descripción del editor. (shrink)

This article revisits the ethical and political questions raised by feminist debates over essentialism, the belief that there are properties essential to women and which all women share. Feminists’ widespread rejection of essentialism has threatened to undermine feminist politics. Re-evaluating two responses to this problem—‘strategic’ essentialism and Iris Marion Young’s idea that women are an internally diverse ‘series’—I argue that both unsatisfactorily retain essentialism as a descriptive claim about the social reality of women’s lives. I argue instead that women have (...) a ‘ genealogy’: women always acquire femininity by appropriating and reworking existing cultural interpretations of femininity, so that all women become situated within a history of overlapping chains of interpretation. Because all women are located within this complex history, they are identifiable as belonging to a determinate social group, despite sharing no common understanding or experience of femininity. The idea that women have a genealogy thus reconciles anti-essentialism with feminist politics. (shrink)

Despite its importance, the phenomenon of dehumanization has been neglected by philosophers. Since its introduction, the term “dehumanization” has come to be used in a variety of ways. In this paper, I use it to denote the psychological stance of conceiving of other human beings as subhuman creatures. I draw on an historical example – Morgan Godwyn's description of 17th century English colonists' dehumanization of African slaves and use this to identify three explanatory desiderata that any satisfactory theory of dehumanization (...) needs to address. I then summarize and criticize the theories of dehumanization developed by Jacques-Philippe Leyens and Nicholas Haslam, focusing on what I take to be their misappropriation of the theory of psychological essentialism, and show that both of these approaches suffer from major difficulties. I finish with an assessment of the degree to which Leyens' and Haslam's theories satisfy the three desiderata mentioned earlier, conclude that they fail to address them, and offer a brief sketch of a more satisfactory approach to understanding dehumanization. (shrink)

Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book (...) distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account 0f artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument. (shrink)

The overall subject of the essays in _The Body/Body Problem_ is the traditional one of what our ultimate makeup is, as creatures with minds and bodies. The central thesis is that we are beings who represent—and misrepresent—actual and possible worlds. Addressing philosophical questions of mental representation, Danto presents his distinctive approach to some of the most enduring topics in philosophy. He is concerned with the nature of description, the status of the external world, action theory, the philosophy of history, and (...) the philosophical status of psychoanalytic explanation. Representation is a central concept in philosophy, says Danto, with differences among philosophers arising in the ways they account for how representations connect to the world or to the individuals possessing them, and how they connect with one another to form systems of beliefs, feelings, and attitudes. In these essays Danto's own voice, with his arguments and speculations, provides rich philosophical pleasures that will endure, to borrow from Santayana, "under whatever sky." Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best. (shrink)

Today art can be made of anything, put together with anything, in the service of presenting any ideas whatever. That puts great interpretative pressures on viewers to grasp the way the spirit of the artist undertook to present the ideas that concerned her or him. The embodiment of ideas or meanings is perhaps all we require as a philosophical theory of what art is. But doing the criticism that consists in finding the way the idea is embodied varies from work (...) to work. No hay reglas en las artes. (shrink)

In the penultimate chapter of his book, Art as Language, G. L. Hagberg presents an argument against Arthur Danto, George Dickie, and other advocates of the Institutional Theory (IT), arguing that a tension exists within the theory. Through conferral, a spokesperson declares what artifacts are accepted into the artworld. Hagberg finds this problematic because, while the criterion one uses is something that the later Wittgenstein would endorse, it points back to an essentialism that he clearly rejected. But Hagberg believes he (...) can avoid this problem by applying Wittgenstein’s notion of certainty to specific artifacts in aesthetics. By relying on Wittgenstein’s notion of certitude, however, he exposes himself to a tension that exists in On Certainty: is certainty natural, or is it social? Although the propositions Hagberg uses have the potential to become certain, he treats them as if they begin that way. In this paper I present two ways in which Wittgenstein classifies or understands certainty: a bottom-up approach, where certainty is part of our natural and instinctual predisposition, and a top-down approach, where certainty is acquired through positive reinforcement. I believe Hagberg fails to appreciate this distinction as well as the consequences for his claim. (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...) new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

This dissertation addresses the problem of trans-world identity in possible worlds semantics, and argues that essentialism does not provide a satisfactory solution to it. If one takes possible worlds semantics seriously as a viable elucidation of the logic of the metaphysical modalities, one must also take a realistic stance toward possible worlds. But then, contrary to Kripke, Plantinga, Van Inwagen, and others, there is a problem with trans-world identity; the real problem being, not the problem of identifying individuals across possible (...) worlds, but rather the problem of the theoretical basis for these identifications. Possible worlds semantics presupposes a substantive theory of what constitutes the cross-world continuation or persistence of individuals. Standard formulations of these semantics nevertheless fail to articulate such a theory. Therefore cross-world identifications become inherently problematic. All available solutions to this problem either presuppose non-trivial essentialism or are incoherent. Non-trivial essentialism is the view that there are certain non-identity properties which a given individual has in every world in which it exists but which other possible individuals fail to have in some of the worlds in which they exist. ;But the question of the coherence of essentialism itself is intimately connected with one's views concerning the nature and existence of properties. Three Cantorian paradoxes are adduced, one against individuative essentialism, one against non-trivial essentialism, and one against properties in general. The paradoxes against properties in general and non-trivial essentialism can be avoided only if one eschews a Quine/Goodman view of property existence---the view that any extensionally well-defined class answers to a property---and makes some kind of distinction between natural and artificial properties. Nevertheless such an eschewal does not avoid the paradox of individuative essentialism. Thus essentialism cannot provide a completely adequate theory of trans-world individuation. For although it provides the necessary conditions for the identity of individuals across possible worlds, it does not allow us to identify these individuals on this basis alone. This conclusion precludes actualist solutions to the problem of the individuation of possibilia which quantify over individual essences. (shrink)

Interpretation has been a key theme in pragmatist aesthetics, but its centrality in neopragmatist thinking goes far beyond the field of art. Its influence extends into epistemology, ontology, and the philosophies of language, history, selfhood, and culture. Joseph Margolis devoted many articles and even an entire book to this topic, which he titled Interpretation Radical but Not Unruly. My critical examination of Margolis’s theory of interpretation shows how it is radical not only in terms of its robust relativism. It is (...) also radical in the etymological sense of “radical” as “forming the root” of his philosophical thought in general. The logic of interpretation that Margolis developed for aesthetics is the original, generative source of his relativism, but its influence and relativist logic then extended ever more widely and deeply into his themes of anti-essentialism, historicism, and flux that pervade his metaphysics of culture and philosophical anthropology. (shrink)