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001 222382
003 IT-RoAPU
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008 220302t20182004nyu fo d z eng d
020 _a9780801439704
_qprint
020 _a9781501727306
_qPDF
024 7 _a10.7591/9781501727306
_2doi
035 _a(DE-B1597)9781501727306
035 _a(DE-B1597)515124
035 _a(OCoLC)1054064525
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aBH39.I825 2004
072 7 _aPHI001000
_2bisacsh
082 0 4 _a111/.85
084 _aonline - DeGruyter
100 1 _aIseminger, Gary
_eautore
245 1 4 _aThe Aesthetic Function of Art /
_cGary Iseminger.
264 1 _aIthaca, NY :
_bCornell University Press,
_c[2018]
264 4 _c©2004
300 _a1 online resource (160 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tCONTENTS --
_tPREFACE --
_tIntroduction: Art and the Aesthetic --
_tCHAPTER ONE. Traditional Aestheticism --
_tCHAPTER TWO. A New Aestheticism --
_tCHAPTER THREE. Aesthetic Communication --
_tCHAPTER FOUR. The Artworld and Practice of Art --
_tCHAPTER FIVE. The Artifactual Concept of Function --
_tCHAPTER SIX. Art as an Aesthetic Practice --
_tCHAPTER SEVEN. Artistic Value as Aesthetic --
_tEpilogue: The End of Art? --
_tReferences --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aHow can we understand art and its impact? Gary Iseminger argues that the function of the practice of art and the informal institution of the artworld is to promote aesthetic communication. He concludes that the fundamental criteria for evaluating a work of art as a work of art are aesthetic. After considering other practices and institutions that have aesthetic dimensions and other things that the practice of art does, Iseminger suggests that art is better at promoting aesthetic communication than other practices are and that art is better at promoting aesthetic communication than it is at anything else.Iseminger bases his work on a distinction often blurred in contemporary aesthetics, between art as a set of products"works of art"and art as an informal institution and social practice-the artworld. Focusing initially on the function of the artworld rather than the function of works of art, he blends elements from two of the most currently influential philosophical approaches to art, George Dickie's institutional theory and Monroe Beardsley's aesthetic theory, and provides a new foundation for a traditional account of what makes good art.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650 0 _aAesthetics.
650 0 _aArt
_xPhilosophy.
650 4 _aArt History.
650 4 _aPhilosophy.
650 7 _aPHILOSOPHY / Aesthetics.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7591/9781501727306
856 4 0 _uhttps://www.degruyter.com/isbn/9781501727306
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781501727306/original
942 _cEB
999 _c222382
_d222382