By G.L. Hagberg
"[Art as Language] is in itself tremendous worthwhile for instance of the nonetheless principally unappreciated relevance of Wittgenstein's paintings to standard philosophical concerns. . . . This booklet, as a roughly encyclopedic critique of aesthetic theories from a Wittgensteinian standpoint, could be enlightening to aesthetic theorists who need to know, no longer what Wittgenstein stated approximately paintings, yet what the relevance of his paintings is to their use of language as some degree of reference for reading art."―Choice"In a chain of acute arguments, Hagberg dismantles the sector of grand aesthetic concept that defines artwork within the phrases philosophy has often used to outline language. . . . Written with excellence in argumentation, judiciousness, and a capacious wisdom of Wittgenstein."―Daniel Herwitz, universal Knowledge"A transparent and clever e-book. Hagberg's process is to teach the results of protecting a Wittgensteinian view of language and brain for cultured theories that are both according to, or analogous to, different non-Wittgensteinian positions approximately language and brain. this is often an enormous project."―Stanley Bates, Middlebury university
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Extra resources for Art As Language: Wittgenstein, Meaning, and Aesthetic Theory
5 A Glimpse Ahead: Kant This is hardly the place for a detailed discussion of Kant’s conceptions of aesthetic judgment and fine art, although this history of the first decades of modern aesthetics has obviously been written with an eye t o Kant. But a closing comment on Kant is necessary, for I have stressed that writers like Hutcheson and Du Bos separately anticipated several of the ideas that Kant was to put together, and that writers like Addison and Baumgarten anticipated the complexity of Kant’s synthesis of these ideas, all of which may seem surprising given the common caricature of Kant’s purported reduction of aesthetic response, whether in the case of works of nature or works of art, to perceptual form apart from all content and significance.
Hutcheson was a pious Christian, most probably more pious than Shaftesbury, but his piety did not take the form of the latter’s argument that our feeling of beauty is a direct perception of the overarching order of the universe established by its intelligent author. Instead, Hutcheson argues that it is precisely the distinction between the sense of beauty on the one hand and cognition and volition on the other that grounds a proof of God’s benevolence: God did not have to constitute us so as to take an immediate pleasure in uniformity amidst variety, which also turns out to be so important for our effective thought and action, so the very fact that he did so is another proof of the goodness of God: ~ ~ And hence we see “how suitable it is to the sag-acious Bounty which we suppose in the DEITY, to constitute our intevnal Senses in the manner in which they are; by which Pleasure is join’d to the Contemplation of those Objects which a finite Mind can best imprint and retain the Ideas of with the least Distraction to those Actions which are most efficacious, and fruitful in useful Effects; and to those Tbeovevns which most inlarge our Minds.
Er affects rather than less forcefG1 ones” (1735: Sxvii) . Baumgarten’s idea is thus that poetry aims to stir the emotions, a conative rather than cognitive objective, but does so through a distinctive form of cognition, the rich, dense, and “confused” imagery of the imagination rather than the spare, general, and “distinct” concepts of science. ”’ - - 36 The Origins of Modern Aesthetics: 17 1 1-35 Four years after his dissertation on poetry, the 25-year-old Baumgarten published the first edition of his Metaphysics,which Kant would still use as his classroom textbook half a century later.