The Oxford Handbook of Aesthetics

Edited by Jerrold Levinson

Volume 1, issue Published in print January 2005 | ISBN: 9780199279456
Published online September 2009 |

Series: Oxford Handbooks in Philosophy

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The Oxford Handbook of Aesthetics looks at a fascinating theme in philosophy and the arts. Leading figures in the field contribute forty-eight articles which detail the theory, application, history, and future of philosophy and all branches of the arts. The first article of the book gives a general overview of the field of philosophical aesthetics in two parts: the first is a quick sketch of the lay of the land, and the second an account of five central problems over the past fifty years. The second article gives an extensive survey of recent work in the history of modern aesthetics, or aesthetic thought from the seventeenth to the mid-twentieth centuries. There are three main parts to the book. The first part comprises sections dealing with problems in aesthetics, such as expression, fiction or aesthetic experience, considered apart from any particular artform. The second part contains articles on problems in aesthetics as they arise in connection with particular artforms, such as music, film, or dance. The third part addresses relations between aesthetics and other fields of enquiry, and explores viewpoints or concerns complimentary to those prominent in mainstream analytical aesthetics.

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Keywords: philosophy; the arts; philosophical aesthetics; problems; modern aesthetics; aesthetic thought; expression; fiction; aesthetic experience; artform; music; film; dance; analytical aesthetics

Book. 840 pages.

Subjects: philosophy

Index Terms: Abell, C.; Abhinavagupta; abstract art; Ackerman, J.; action theory; Adamson, J.; Addis, L.; Addison, J.; Adorno, T.; Aeschylus (works of); aesthetic; aestheticism; aesthetics; Agamemnon (Aeschylus); Aiken, H. D.; Ajax (Sophocles); Ajzen, I.; Alberti, L. B.; Alexander, T.; al-Ghazzali; Alison, A.; Allen, N. W.; Allen, R.; Allen, R. T.; allographic; Alpers, S.; Alperson, P.; Althusser, L.; Altieri, C.; Ambrose, St; Anderson, D.; Anderson, J.; Anderson, R.; Ang, I.; animals (creativity in); Ankersmit, F.; anti-essentialism; anti-intentionalism; anti-realism; Appiah, K. A.; appreciation; Aquinas, St T.; architecture; Aristotle; Armstrong, R. P.; Arnheim, R.; Arnold, M.; Aron, T.; arousalism; art; Artaud, A.; artefactuality (and value); art for art's sake; artforms, hybrid; artworks; artworld; aspectualism; Auden, W. H.; Audi, R.; audience; Augustine, St; Austen, J.; Austin, J. L.; auteurism; authenticity; authentic performance movement; author; autism; autographic; avant-garde; Ayer, A. J.; Bachmann, K.; Bailin, S.; Bain, A.; Bal, M.; Ball, H.; ballet; Banes, S.; Barfield, O.; Barish, J.; Barkow, J. H.; Barnes, A.; Barnes, J.; Baron, M.; Baron-Cohen, S.; Barsch, A.; Barthes, R.; Bataille, G.; Batkin, N.; Battersby, C.; Batteux, C.; Baudelaire, C.; Baudrillard, J.; Baugh, B.; Bauhaus; Baumgarten, A. G.; Baxandall, M.; Bazin, A.; Bazzana, K.; Beardsley, M.; Beardsmore, R.; beauty; Beauty Myth; Becker, C.; Beethoven, L.; Belfiore, E. S.; Bell, C.; Bender, J. W.; Benjamin, W.; Berger, J.; Bergson, H.; Berkeley, G.; Berleant, A.; Berman, R.; Bernstein, J. M.; Binkley, T.; Black, J. B.; Black, M.; Blackburn, S.; Blanchot, M.; Blixen, K.; Blocker H. G.; Bloom, A.; Blum, L.; Boden, M.; body art; Booth, W.; Bordieu, P.; Bordwell, D.; Borges, J. L; Boruah, B.; Boswell, J.; bourgeoisie; Brady, E.; Brand, M.; Brand, P. Z.; Bratman, M. E.; Braudy, L.; Brecht, B.; Bredius, A.; Bremond, C.; Breughal, P.; Brook, D.; Brooks, C.; Brooks, P.; Brown, L. B.; Bryson, N.; Budd, M.; Buffon, G.; Bullough, E.; Bürger, P.; Burke, E.; Burton, S.; Cage, J.; Cahill, J.; Callicott, J.; calligraphy; Callinocos, A.; camp (sensibility); Campbell, J.; Campbell, K.; canon; Capa, R.; caricature; Carlshamre, S.; Carlson, A.; Carney, J.; Carpenter, R.; Carrier, D.; Carroll, J.; Carroll, N.; Carter, C.; cartoons; categories; catharsis; Cavell, S.; Cézanne, P.; Chadwick, W.; Charlton, W.; children; Ching, H.; Christ, J.; Christensen, B.; Christianity; Chuang, T.; Churchland, P.; Chytry, J. J.; cinema; Cioffi, F.; Clark, A.; Clark, M.; Clark, T. J.; Clénent, C.; Clendinnen, I.; Close, C.; Coetzee, J. M.; cognitive science (and aesthetics); Cohen, M.; Cohen, T.; Coker, W.; Cole, K.; Coleridge, S. T.; Collingwood, R. G.; comedy; conceptual art; connoisseurship; conservation (of artworks); content (of artworks); contextualism; convention (in literature); Cooke, D.; cookery; Cooper, D.; Cooper, L. A.; Coote, J.; Cope, D.; copies; Corbusier, L.; Cork, R.; craft; creation; creativity; critic, ideal; criticism; Crittenden, C.; Croce, B.; Cronin, H.; Crow, T.; Culler, J.; cultural studies; culture, popular; Cummins, R.; Currie, G.; Dadaism; Dadlez, E. M.; Damasio, A.; dance; Danto, A.; Dasenbrook, R. W.; Davidson, D.; Davies, D.; Davies, M.; Davies, S.; Davis, F.; Davis, H. E.; Davis, M.; Davis, W.; Dean, J.; death of art; death of the author; DeBellis, M.; de Duve, T.; defamiliarization; definition of art; Deleuze, G.; democracy (role of the arts in); depiction; Derrida, J.; Descartes, R.; De Sousa, R.; Deústua, A.; Devereaux, M.; Dewey, J.; De Woskin, K. J.; Dickie, G.; Diderot, D.; Diffey, T. J.; Dilthy; Dinesen, I.; Dipert, R.; disenfranchisement; disinterestedness; Dissanayake, E.; distantiation; Dodd, J.; Dominey, P.; Donnellan, K.; Douven, I.; drama; Du Bos, J.-B.; Ducasse, C. J.; Duchamp, M.; duck-rabbit figure; Dufrenne, M.; Dummett, M.; Duncan, C.; Dutton, D.; Dworkin, R.; Eagleton, T.; earthworks; Eaton, M.; Ecker, G.; Eco, U.; Edelman, M.; Edman, I.; Ehrenzweig, A.; Eisenstein, S.; Eldridge, R.; Eliot, T. S.; Elliot, R.; Elliot, R. K.; Ellis, C. J.; Ellis, J. M.; Elster, J.; emergentism; emotion; emotional response; emotivism; empathy; Empson, W.; Emt, J.; end of art; environment; environmentalism (effect on aesthetics); Epictetus; epistemology (of aesthetic properties); eroticism; Etcoff, N.; ethics (and aesthetics); evaluation; Evans, G.; everyday (aesthetics of the); evolution; evolutionary psychology (limitations of); experience; expression (of emotions); expressionism; expressiveness; faithfulness; Farah, M. J.; Feagin, S.; Feld, S.; Felski, R.; feminism; Ferry, L.; Fichte, J. G.; fiction; fictionalism; Fielder, L.; film; Fine, K.; Finke, R.; first art; Firth, R.; Fischer-Lichte, E.; Fish, S.; Fishbein, M.; Fisher, J. A.; Flaubert, G.; Fodor, J.; Fogelin, R. J.; Fokkema, D.; folk art; Foot, P.; forgeries; form; formalism; Foster, H.; Foster, M.; Foucault, M.; framing (art v. nature); Frank, R. H.; Frankenthaler, H.; Frankl, P.; frauds; Freedberg, D.; Freeden, M.; Freeland, C.; Freud, S.; Friday, J.; Fried, M.; Frith, S.; Frow, J.; Fry, R.; Gadamer, H.-G.; Galan, F. W.; Gale, R. M.; Gans, H.; Gaudi, A.; Gaut, B.; Gauthier, T.; gaze, male; Geertz, C.; gender; Gendler, T. S.; Genette, G.; genius; genre; Gerard, A.; Gerow, E.; Gerrig, R.; Geuss, R.; Ghiselin, B.; Gilbert, M.; Gilbert-Rolfe, J.; Gilligan, C.; Gilman, S.; Giora, R.; Glickman, J.; Godfrey-Smith, P.; Godley, J.; Godlovitch, S.; Goehr, L.; Goldberg, S. J.; Goldman, A.; Gombrich, E.; Goodale, M.; Goodman, N.; Gorgias; Goswamy, B. N.; Götz, V.; Gould, C.; Gould, G.; Gould, T.; Gracyk, T.; Graham, G.; Gramsci, A.; grand guignol; Graves, L.; Gray, B.; Greenberg, C.; Greenspan, P.; Greenspan, S.; Gregory, R. L.; Greimas, A.; Grice, H. P.; Grodal, T.; Gron, E.; Gropius, W.; Guyer, P.; Habermas, J.; Hagberg, G.; Haldane, J.; Hall, S.; Hallen, B.; Halliwell, S.; Hals, F.; Hamilton, J.; Hampshire, S.; Hancher, M.; Hanslick, E.; Happé F.; Hare, R. M.; Hargrove, E. C.; Harman, G.; Harries, K.; Harris, P.; Harrison, A.; Hartz, G.; Harvey, D.; Haskell, M.; Haskins, C.; Hassan, I.; Hatcher, E.; Hatfield, E.; Hausman, C.; Heath, S.; Heerwagen, J. H.; Hegel, G. W. F.; Heidegger, M.; Heilbrun, C.; Henze, D.; Hepburn, R.; Herder, J. G.; Herman, B.; Hermeren, G.; Herrnstein Smith, B.; Herwitz, D.; Higgins, K.; Higonnet, M.; Hildebrand, A.; Hirsch, E. D. Jr; Hirstein, W.; historicism; Hjort, M.; Hobbes, T.; Hoekema, D.; Hoggart, R.; Hohendahl, P. U.; hooks, b.; Hopkins, R.; Horace; Horkheimer, M.; Horowitz, G.; horror; Hospers, J.; Howard, V.; Howe, I.; Howell, R.; Hsieh, H.; Huelsenbeck, R.; Huichol art (Mexico); Hume, D.; humour; Hunt, R.; Hunter, I.; Hutcheson, F.; Huyssen, A.; hybrid artforms; Hyman, J.; Ibsch, E.; idealism; identification (with characters); Ii, N.; ikebana (cut-flower art); illusion; imagination; imitation; implied artist; improvisation; indiscernibles; Ingarden, R.; intention; Intentional Fallacy; intentionalism; interpretation; intuitionism; irony; Irwin, W.; Iseminger, G.; Isenberg, A.; Jackendoff, R.; Jacobson, D.; Jakobson, R.; James, H.; James, W.; Jameson, F.; Janaway, C.; Janko, R.; Janson, H.; Jarvie, I.; jazz; Jencks, C.; Jenneret, C.-E.; Jerome, St; Jing, H.; John, E.; Johns, J.; Johnson, C.; Johnson, M.; Johnson, S. (Dr); jokes; Jones, P.; Joyce, R.; Juhl, P. D.; Kallberg, J.; Kallen, H.; Kames, Lord; Kania, A.; Kant, I.; Kaplan, A.; Kaplan, E. A.; Kaprow, A.; Kasulis, T. P.; Kavanaugh, R. D.; Keene, D.; Keil, C.; Kellner, D.; Kelly, M.; Kemp, M.; Kennedy, J. M.; Kennick, W.; Kenny, A.; Kermode, F.; Khatchadourian, H.; Kieran, M.; Kierkegaard, S.; Kim, J.; King, W.; kitsch; Kivy, P.; Knapp, S.; knowledge; Koestler, A.; Komar, V.; Kominimung art (Papua New Guinea); Korsgaard, C.; Korsmeyer, C.; Koshiro, H.; Kosslyn, S.; Kracauer, S.; Krausz, M.; Kristeller, P. O.; Kristeva, J.; Kroon, F.; Kubovsky, M.; Kulvicki, J.; Kundera, M.; Lacan, J.; Lakoff, G.; Lamarque, P.; Landowska, W.; Langer, S.; Lauter, E.; Lawal, B.; Leavis, F. R.; Leddy, T.; Lee, S.; Leibniz, G. W.; Lentricchia, F.; León-Portilla, M.; Leopold. A.; Lerdahl, F.; Leslie, A. M.; Lessing, G. E.; Levine, D. N.; Levinson, A.; Levinson, J.; Lewis, C. I.; Lewis, D.; LeWitt, S.; Li, Z.; Lind, R.; Lippard, L.; literature; Livingston, P.; Lomax, A.; Long, A. A.; Loos, A.; Lopes, D.; Lotze, H.; Loudon, J. C.; Louis, M.; Lubbock, P.; Lucie-Smith, E.; Lukács, G.; Luzon (Philippines); Lyas, C.; Lyons, W.; Lyotard, J.-F.; Maatje, F. C.; McAllester, D. P.; MacCabe, C.; McClary, S.; McCloskey; McDermott, J.; MacDonald, D.; McDowell, J.; McFee, G.; McGinn, C.; McGuigan, J.; McHale, B.; Maclntyre, A.; MacKay, A.; MacLeish; McNeill, W.; Macpherson, J.; Madden, E. H.; Mailer, N.; Maitland, J.; make-believe; male gaze; Mallarmé, S.; Mandel, E.; Mandelbaum, M.; Manea, N.; Manet, E.; Maquet, J.; Maquet, M.; Marchiano, F.; Marcus, G.; Margolis, J.; Marr, D.; Martin, D. F.; Martin, E.; Martin, J.; Martin, M. W.; Marx, K.; Marxism; mass art; masterpieces; Matravers, D.; Mauro, R.; Maynard, P.; meaning; medium; Meiland, J.; Meinong, A.; Melamid, A.; Melchionne, K.; Mele, A. R.; Melzer, A. M.; Mendelssohn, M.; Menke, C.; Merleau-Ponty, M.; metaphor; Metz, C.; Mew, P.; Meyer, L.; Michaels, W. B.; Mill, J. S.; Miller, G. F.; Miller, H.; Miller, M.; Miller, R. W.; Millett, K.; Millikan, R.; Milner, D.; mimesis; Mitchell, W. J.; Mithen, S.; Mitias, M.; Mitrovic, B.; mixed-media art; modernism; Molière; Momaday, N. S.; Moore, G. E.; morality; Moran, R.; Morizot, J.; Morreall, J.; Morris, A.; Morris, W.; Morrow, D. G.; Moser, P.; Mothersill, M.; motion picture; Muir, J.; Mukařovský, J.; multiculturalism; multi-media art; Mulvey, L.; Munsterberg, H.; Murdoch, I.; museums (and architecture); music; Nagel, T.; narration; narrative; narrators; Nasr, S. H.; Nathan, D. O.; nature; Neander, K.; Nehamas, A.; Neill, A.; New Criticism; Nietzsche, F.; Nishitani, K.; Nochlin, L.; non-Western art (authenticity in); Norris, C.; notations; Novalis; novel (ontology of the); novelty; Noverre, J.-G.; Novitz, D.; Nowell-Smith, G.; Nussbaum, M.; Oatley, K.; obscenity (in art); occlusion shape; Ogden, CK.; Ohmann, R.; Okpewho, I.; Olsen, S.; O'Neill, O.; ontology; Onyewuenyi, I. C.; opera; oral traditions; Orians, G. H.; originality; Ossian; outline shape; Pacherie, E.; Packer, M.; painting; Palladio; Panofsky, E.; pantomime; paradox; Parker, D.; Parker, R.; Parsons, T.; Paskins, B.; Pater, W.; patriarchy; Patrick, C.; Pavel, T.; Paxton, S.; Payzant, G.; Peacocke, C.; Pelletier, J.; perception; performance; performance art; Perkins, V.; Perry, L.; perspective; Pettersson, A.; Pettit, P.; Pevsner, N.; Philostratus; Phipps, W.; photography; pictures; Pinker, S.; Pippin, R.; plagiarism; Plantinga, C.; Plato; pluralism; Podro, M.; poetry; point of view; politics; Pollock, G.; Pollock, J.; Poneach, T.; Pop Art; Popper, K. R.; popular art; popular culture (and feminism); pornography; portraiture; postmodernism; post-structuralism; Pound, E.; Prado, C. G.; pragmatism; Prall, D.; Predelli, S.; Prentice, D.; preservation (of nature); Prince, G.; Prochard, H. A.; projection; properties; Propp, V.; Provine, R.; psychoanalysis; psychology; Pugin, A. W.; Pugmire, D.; purposiveness; Putnam, H.; Pythagoras; quasi-emotions; Quine, W. V. O.; Rabelais, F.; Radford, C.; radio (transparency of); Raffman, D.; Railton, P.; Rainer, Y.; Ramachandran, V. S.; Rauschenberg, R.; Rawls, J.; Rawson, P.; Read, H.; reading against the grain; realism; recognition (in representation); recordings; Reisberg, D.; Reiss, T. J.; religion; Renaut, A.; representation; resemblance; restoration; Rich, A.; Richards, I. A.; Ridley, A.; Riegl, A.; Rieser, M.; Rind, M.; Ritchen, F.; Robinson, J.; Robinson, P.; rock (music); Rolston, H. Ill; Romanticism; Rorty, A.; Rorty, R.; Rose, B.; Rosebury, B.; Roseman, M.; Rosenberg, E.; Ross, S.; Ross, W. D.; Rousseau, J.-J.; Rowe, C.; Rowe, M.; Rowell, L.; Rudinow, J.; Rudner, R.; Rumi, J. al-D.; Ruskin, J.; Russell, B.; Russell, J.; Russian Formalism; Ryosuke, O.; Sadra, M.; Sagoff, M.; Saito, Y.; Salmon, N.; Saltz, D.; Sandrisser, B.; Santayana, G.; Sards, A.; Sartre, J. P.; Sartwell, C.; satire; Savedoff, B.; Savile, A.; Sayre, H.; Scarry, E.; Schaeffer, J.-M.; Schaper, E.; Schapiro, M.; Scharfstein, B.-A.; Schechner, R.; Schemer, I.; Schelling, F. W. J.; Schier, F.; Schiller, F.; Schlegel, F.; Schleiermacher; Schlesinger, G.; Schmidt, S. J.; Schoffel, A.; Schopenhauer, A.; Schram, D. H.; Schumacher, C.; science, cognitive; Scott, G.; Scott, G. G.; Scruton, R.; sculpture; Seaford, R.; Seamon, R.; Searle, J. R.; seeing-as; seeing-in; Segal, C.; semiotics; sentimentalism; Serlio, S.; Sesonske, A.; Seven against Thebes (Aeschylus); Shaftesbury, Earl of; Shakespeare, W.; shape; Sharpe, R. A.; Shelley, P. B.; Shelton, A.; Shepard, R. N.; Shields, C.; Shiner, L; Shklovsky, V.; Shusterman, R.; Shweder, R. A.; Sibley, F.; Sidney, Sir P.; significant form; simulation theory; Sircello, G.; Šklovskij; Slote, M.; Small, C.; Smidt, D.; Smith, A.; Smith, G.; Smith, M.; Smithson, R.; Snyder, J.; Socrates; Sokoloff, G.; Solomon, R. C.; song; Sontag, S.; Sophocles (works of); Sparshott, F.; Spellerberg, J.; Spence, L.; Spencer, H.; Sperber, D.; Spinoza, B.; Spitz, E.; Stam, R.; States, B.; Stecker, R.; Steen, G. J.; Steinberg, L.; Steinberg, M.; Stern, J.; Sterne, L.; Stevenson, C. L.; Stacker, M.; Stoics; Stokes, M.; Stokstad, M.; Stolnitz, J.; Stone, T.; Storey, R.; story; Stratum, J.; structuralism; style; Sukel, K. E.; Sullivan, M.; Summers, D.; supervenience; surrealism; suspension of disbelief; Symons, D.; sympathy (role in appreciation); Tanner, M.; Taruskin, R.; taste; tattooing; Taylor, J.; Taylor, P. A.; Taylor, P. C.; television (as representation); text; theatre; theory-theory (and interpretation); Thorn, P.; Thomas, D.; Thomasson, A.; Thompson, E. P.; Thompson, J.; Thompson, R. F.; Thompson, W.; Thoreau, H. D.; Thornhill, A. H. Ill; Thornhill, R.; Thouless, R. H.; Tilghman, B.; titles; Todorov, T.; Tolhurst, W.; Tolstoy, L.; Tomas, V.; topiary; Tormey, A.; Tormey, J.; Townsend, D.; tragedy; transcriptions (musical); transparency; Trappl, R.; trompe l'œil; Truffaut, F.; truth; Tuan, Y.; Turner, T. J.; twofoldedness; understanding; uniqueness (of artworks); Urmson, J.; Vaida, I.; Valéry, P.; Vallentyne, P.; value; Vanbrugh, Sir J.; Vance, R. D.; Van Damme, W.; van der Rohe, M.; van Gerwen, R.; van Inwagen, P.; Van Leeuwen, C.; van Meegeren, H.; Van Peer, W.; Vasconcelos, J.; Vattimo, G.; Veblen, T.; Venturi, R.; Vermazen, B.; Vermeer, J.; Vernon, M. D.; Vinograd, R.; vision; Vitruvius; Von Humboldt, W.; Voysey, C. F. A.; Wallas, G.; Walsh, D.; Walton, K.; Warach, J.; Warburton, N.; Ward, T.; Warhol, A.; Warren, A.; Warshaw, P.; Watkin, D.; Waugh, E.; Waugh, J.; Weaver, J.; Weitz, M.; Wellek, R.; Wellmer, A.; Weston, M.; Wheeler, S. C. III; White, J.; White, R.; Whyte, L. C.; Wicks, R.; Widdowson, P.; Wiggins, D.; Wilde, O.; Willats, J.; Willett, J.; Williams, B.; Williams, M.; Williams, R.; Wilsmore, S.; Wilson, G. M.; Wilson, W. K.; Wimsatt, W. K.; Winner, E.; Winters, E.; Winters, Y.; Witherspoon, G.; Witkin, J.-P.; Wittgenstein, L.; Wittkower, R.; Wolff, C.; Wolff, N.; Wolfflin, H.; Wollheim, R.; Wolterstorff, N.; Wood, A.; Woodruff, P.; Woolf, V.; Wordsworth, W.; works of art; Wren, C.; Wright, C.; Wright, RL; Wu, K.-M.; Wypijewski, J.; Xie, H.; Yanal, R. J.; Yehoshua, A. B.; Yoruba; Young, A.; Yue, G.; Zahavi, Am.; Zahavi, Av.; Zalta, E.; Zangwill, N.; Zeki, S.; Zemach, E.; Zhuang, Z.; Ziff, P.; Zwerdling, A.