Cultural theories of art were developed to account for the arthood of nonaesthetic and nonimitative artworks. Historical theories such as those proposed by Jerrold Levinson, James Carney, and Noël Carroll fail to account for the arthood of first art and ethnological objects, as does the disjunctive theory of Stephen Davies. An institutional (artworld-based) theory, such as George Dickie’s 1977 version, can account for the arthood of art made within the context of an artworld. But what of objects that are art now but were not made in an artworld context? I add a supplement to Dickie’s institutional theory: the concept of art by proxy.
艺术文化理论的发展是为了解释非审美和非模仿艺术作品的优越性。历史理论，如Jerrold Levinson, James Carney和Noël Carroll提出的理论，未能解释第一艺术和民族学对象的重要性，Stephen Davies的分离理论也是如此。一种制度性的(基于艺术界的)理论，比如乔治·迪基(George Dickie) 1977年的版本，可以解释在艺术界背景下创作的艺术的价值。但是，那些现在是艺术品但不是在艺术世界背景下制作的物品呢?我在迪基的制度理论基础上增加了一个补充:代理艺术的概念。
{"title":"Art by Proxy","authors":"R. Yanal","doi":"10.1093/jaac/kpad022","DOIUrl":"https://doi.org/10.1093/jaac/kpad022","url":null,"abstract":"\u0000 Cultural theories of art were developed to account for the arthood of nonaesthetic and nonimitative artworks. Historical theories such as those proposed by Jerrold Levinson, James Carney, and Noël Carroll fail to account for the arthood of first art and ethnological objects, as does the disjunctive theory of Stephen Davies. An institutional (artworld-based) theory, such as George Dickie’s 1977 version, can account for the arthood of art made within the context of an artworld. But what of objects that are art now but were not made in an artworld context? I add a supplement to Dickie’s institutional theory: the concept of art by proxy.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121075867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Kant’s (Moderate) Musical Antiformalism: A Reply to Sousa","authors":"James O Young","doi":"10.1093/jaac/kpad026","DOIUrl":"https://doi.org/10.1093/jaac/kpad026","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117105082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article takes as its starting point a recurring complaint in the popular reception of horror movies: that the characters in them behave foolishly. I argue that such complaints fail to recognize that the horror genre exploits a fundamental tension in fiction, between the perspective on a fictional world offered to its audience and that available to its characters. This distinction is highlighted in horror, which often depicts characters with everyday expectations facing extraordinary threats. Horror characters are frequently taken by surprise, and even the better prepared can be thwarted by the malevolence of the generic world. The extent of characters’ misfortunes can resemble deliberate persecution, self-consciously flaunting authorial manipulation. I draw on Todorov’s notion of “pan-determinism” and suggest that a more sinister variant operates in horror. Occasionally, a character’s experiences can help equip them to survive; I argue that this can be inflected politically in films where the malevolent horror world is placed alongside forms of real-life persecution and abuse. Critical attention to the world of horror, and how it is understood from both the outside and within, can clarify the connections between different theoretical understandings of the genre and bring out important but overlooked generic conventions.
{"title":"Being in a Horror Movie","authors":"P. Falconer","doi":"10.1093/jaac/kpad023","DOIUrl":"https://doi.org/10.1093/jaac/kpad023","url":null,"abstract":"\u0000 This article takes as its starting point a recurring complaint in the popular reception of horror movies: that the characters in them behave foolishly. I argue that such complaints fail to recognize that the horror genre exploits a fundamental tension in fiction, between the perspective on a fictional world offered to its audience and that available to its characters. This distinction is highlighted in horror, which often depicts characters with everyday expectations facing extraordinary threats. Horror characters are frequently taken by surprise, and even the better prepared can be thwarted by the malevolence of the generic world. The extent of characters’ misfortunes can resemble deliberate persecution, self-consciously flaunting authorial manipulation. I draw on Todorov’s notion of “pan-determinism” and suggest that a more sinister variant operates in horror. Occasionally, a character’s experiences can help equip them to survive; I argue that this can be inflected politically in films where the malevolent horror world is placed alongside forms of real-life persecution and abuse. Critical attention to the world of horror, and how it is understood from both the outside and within, can clarify the connections between different theoretical understandings of the genre and bring out important but overlooked generic conventions.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114788846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Response to Currie and Robson, “Authenticity and Implicature”","authors":"C. Korsmeyer","doi":"10.1093/jaac/kpad024","DOIUrl":"https://doi.org/10.1093/jaac/kpad024","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116286465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nested Types and Musical Flexibility","authors":"P. Alward","doi":"10.1093/jaac/kpad020","DOIUrl":"https://doi.org/10.1093/jaac/kpad020","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"115 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117342849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain art forms, like music and literature, are such that there can be no forgeries that purport to be of an actually existing work—what Lamarque calls “referential forgeries.” Put more clearly, any attempt at referentially forging a musical or literary work just results in making a copy of that work. Lamarque motivates this claim via appeal to another distinction, first made by Nelson Goodman, between “allographic” and “autographic” artforms. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged and will find that it does not pass muster. In so doing, the distinction between allographic and autographic artforms will also be called into question. In section I, I will characterize referential forgery and Lamarque’s definition of allographic and autographic artforms. Section II will critically examine Lamarque’s argument against the possibility of referential forgery in allographic artforms. Section III will offer a case where it appears that a putatively allographic text’s type membership is sensitive to facts about its causal-intentional provenance. This case will serve as pretext for Section IV’s identification of this causal-intentional relation with the sanctioning relation of (Irvin 2005). On the basis of considerations treated in sections I through IV, section V will question the tenability of the allographic/autographic distinction.
彼得·拉马克(Peter Lamarque)在他2010年出版的《作品与对象》(Work and Object)一书的第四章中指出，某些艺术形式，比如音乐和文学，不可能存在声称是真实存在作品的赝品——拉马克称之为“参考赝品”(referential forged)。更明确地说，任何模仿音乐或文学作品的尝试都只会导致制作该作品的副本。拉马克通过引用纳尔逊·古德曼(Nelson Goodman)首先提出的另一种区分来推动这一主张，即“allographic”和“autographic”艺术形式。本文将对拉马克关于异体文学作品不能被参照伪造的论点进行评价，并将发现它不合格。在这样做的时候，异体文字和自体文字艺术形式之间的区别也会受到质疑。在第一节中，我将描述参考伪造和拉马克对异体文字和自写艺术形式的定义。第二节将批判性地考察拉马克反对异体文字艺术形式中参考伪造的可能性的论点。第三节将提供一个情况下，它似乎是一个假定的异体文字的类型成员是敏感的事实，其因果-故意的来源。这个案例将作为第四节的借口，将这种因果关系与制裁关系(Irvin 2005)进行识别。根据第一节至第四节所述的考虑，第五节将质疑异体/自体区分的可行性。
{"title":"Literary Indiscernibles, Referential Forgery, and the Possibility of Allographic Art","authors":"J. Spinella","doi":"10.1093/jaac/kpad019","DOIUrl":"https://doi.org/10.1093/jaac/kpad019","url":null,"abstract":"\u0000 Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain art forms, like music and literature, are such that there can be no forgeries that purport to be of an actually existing work—what Lamarque calls “referential forgeries.” Put more clearly, any attempt at referentially forging a musical or literary work just results in making a copy of that work. Lamarque motivates this claim via appeal to another distinction, first made by Nelson Goodman, between “allographic” and “autographic” artforms. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged and will find that it does not pass muster. In so doing, the distinction between allographic and autographic artforms will also be called into question. In section I, I will characterize referential forgery and Lamarque’s definition of allographic and autographic artforms. Section II will critically examine Lamarque’s argument against the possibility of referential forgery in allographic artforms. Section III will offer a case where it appears that a putatively allographic text’s type membership is sensitive to facts about its causal-intentional provenance. This case will serve as pretext for Section IV’s identification of this causal-intentional relation with the sanctioning relation of (Irvin 2005). On the basis of considerations treated in sections I through IV, section V will question the tenability of the allographic/autographic distinction.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116871616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Photographic Registers Are Latent Images","authors":"M. Windsor","doi":"10.1093/jaac/kpad017","DOIUrl":"https://doi.org/10.1093/jaac/kpad017","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130703536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nested Types, Modal Claims and Musical Works. Another Go.","authors":"N. G. Puy","doi":"10.1093/jaac/kpad021","DOIUrl":"https://doi.org/10.1093/jaac/kpad021","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132555232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Descriptive Formalism and Evaluative Formalism in Kant’s Theory of Music—A Response to Young","authors":"Tiago Sousa","doi":"10.1093/jaac/kpad018","DOIUrl":"https://doi.org/10.1093/jaac/kpad018","url":null,"abstract":"","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116496022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Poems are not the only things we sometimes call poetic. We experience as poetic also prose passages, as well as films, music, visual art, and even occurrences in daily life. But what is it exactly for something to be poetic in this wider sense? Discussion of the poetic in this sense is virtually nonexistent in the extant analytic literature. The aim of this article is to get a start on trying to come to grips with this phenomenon—the poetic as an aesthetic category that outruns poetry as an art form. It proposes an initial sketch of an account in terms of the fittingness of certain affective reactions to artworks and other things, reactions featuring notably elements of tenderness and elevation.
{"title":"The Poetic as an Aesthetic Category","authors":"Uriah Kriegel","doi":"10.1093/jaac/kpac054","DOIUrl":"https://doi.org/10.1093/jaac/kpac054","url":null,"abstract":"Abstract Poems are not the only things we sometimes call poetic. We experience as poetic also prose passages, as well as films, music, visual art, and even occurrences in daily life. But what is it exactly for something to be poetic in this wider sense? Discussion of the poetic in this sense is virtually nonexistent in the extant analytic literature. The aim of this article is to get a start on trying to come to grips with this phenomenon—the poetic as an aesthetic category that outruns poetry as an art form. It proposes an initial sketch of an account in terms of the fittingness of certain affective reactions to artworks and other things, reactions featuring notably elements of tenderness and elevation.","PeriodicalId":220991,"journal":{"name":"The Journal of Aesthetics and Art Criticism","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134983448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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