By Karol Berger

What, if something, has paintings to do with the remainder of our lives, and particularly with these moral and political matters that subject to us so much? Will artwork created at the present time be prone to play a job in our lives as profound as that of the easiest paintings of the previous? A thought of artwork shifts the focal point of aesthetics from the conventional debate of "what is art?" to the enticing query of "what is artwork for?" Skillfully describing the social and old scenario of paintings this present day, writer Karol Berger argues that track exemplifies the present situation of paintings in an intensive, acute, and revealing model. He additionally uniquely combines aesthetics with poetics and hermeneutics. providing a cautious synthesis of a large breadth of scholarship from artwork historical past, musicology, literary reports, political philosophy, ethics, and metaphysics, and written in a transparent, obtainable sort, this booklet will attract someone with a major curiosity within the arts.

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A Theory of Art

What, if whatever, has artwork to do with the remainder of our lives, and specifically with these moral and political concerns that subject to us so much? Will artwork created at the present time be prone to play a task in our lives as profound as that of the simplest artwork of the previous? A thought of paintings shifts the focal point of aesthetics from the conventional debate of "what is artwork?

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99 But what about Rousseau's and Kant's suspicion that music so purified is empty, mere enjoyment? Hanslick's answer is different from that of the romantics. " Instead, he sees the dignity of abstract music simply in its being a product of a creative human mind. "101 In fact, as Carl Dahlhaus noted,102 Hanslick took pains in subsequent editions of his book to remove all passages that still spoke the language of the romantic metaphysics of absolute music, in particular, the dosing passage which in the first edition contained the following 41 42 sentences: "Music affects him [the listener] not merely and absolutely through its own beauty, but also as the sounding copy of the great cosmic motions.

It is also clear that any account of the causes would have to include the continuation and intensification of the socioeconomic process that attended the birth of the philosophy of aesthetic autonomy in the late eighteenth century. As it became increasingly clear that, under the conditions of a market economy, art music had no chance of winning the competition for the entertainment-craving public with popular music, the former had to justify its existence by claiming to pursue different aims, and since the mimetic idea was governing the  < previous page < previous page page_141 page_142 next page > next page > Page 142 production of popular music, it was natural for art musicians to want to abandon it.

And if it is this noumenal realm beyond the phenomena that music reveals, then a suitable substitute for cosmic harmony has been found to underwrite the dignity and worth of abstract, nonmimetic, music. Six years after Hoffmann, Arthur Schopenhauer explicitly identified the "unknown realm" to which music, but no other medium, gave voice as Kant's noumenal region of the thing-in-itself and, in a move that would surely make Kant wince, further characterized it as will (Die Welt als Wille und Vorstellung, 1819).

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