Pub Date : 2020-10-27DOI: 10.12987/yale/9780300244564.003.0007
Abigail Zitin
In this book, I have argued that the development in the eighteenth century of a distinct field of inquiry that we now know as aesthetics was slow to produce a concept of form that now seems central to humanistic study. Because of my training and my institutional position, my approach to this argument is literary. I use methods of interpretation associated with literary texts—but the texts I spend the most time with in this book are not literary in the most familiar sense, not plays or novels or poems. And arguably, my focus on form as a problem is just as much a product of my literary orientation; we in literary studies have been arguing about form for years. (We seem never to tire of calling formalism “new,” or of declaring that form is over.) But our form problem does not necessarily define the other humanistic disciplines that fall under the domain of the aesthetic. Moreover, my literary orientation does not mean that the understanding of form that I develop in this book lends itself easily to literary use, integrally related as it is to the practice of the visual arts. Should it, though? More fundamentally: could it? In the last few pages of this book, I speculate a bit in response to these two questions....
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This chapter inquires into the fate of artistic practice in the text responsible for making form central to the theorization of aesthetics: Immanuel Kant’s Critique of the Power of Judgment. When Kant turns his attention to art, it appears as a special case, not fully within the purview of his theory of aesthetic judgment. How might Hogarth’s practitioner-centered aesthetic theory, in The Analysis of Beauty, inform an interpretation of Kant’s Third Critique? Kant, like Hogarth before him, connects the pleasure in aesthetic judgment with the cognitive activity of formal abstraction. Thinking like an artist means exercising the perceptual capacity for formal abstraction. In Kant’s theory as well as Hogarth’s, the artist can be understood as she who models free play as a practice that can be cultivated by means of this perceptual exercise.
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This chapter argues that the idea of practice occupies a central position in the writings of Antony Ashley Cooper, the Third Earl of Shaftesbury, complicating the traditional association of Shaftesbury’s aesthetics with a concept of form. Practice enters the picture by way of his commitment to the moral exercises of classical Stoicism. Shaftesbury gives his modern Stoicism a Platonic inflection by using artistic and artisanal practices as metaphors, in his writing, for the development through exercise of one’s moral capabilities—Platonic, that is, in disavowing the materiality of the figure on which effective communication of meaning relies. This disavowal marginalizes the practical expertise of artists and artisans, specifically, their interested and materially determined understanding of beauty and its pleasures.
{"title":"THE FIGURE OF PRACTICE","authors":"Abigail Zitin","doi":"10.2307/j.ctv177tk9r.6","DOIUrl":"https://doi.org/10.2307/j.ctv177tk9r.6","url":null,"abstract":"This chapter argues that the idea of practice occupies a central position in the writings of Antony Ashley Cooper, the Third Earl of Shaftesbury, complicating the traditional association of Shaftesbury’s aesthetics with a concept of form. Practice enters the picture by way of his commitment to the moral exercises of classical Stoicism. Shaftesbury gives his modern Stoicism a Platonic inflection by using artistic and artisanal practices as metaphors, in his writing, for the development through exercise of one’s moral capabilities—Platonic, that is, in disavowing the materiality of the figure on which effective communication of meaning relies. This disavowal marginalizes the practical expertise of artists and artisans, specifically, their interested and materially determined understanding of beauty and its pleasures.","PeriodicalId":346989,"journal":{"name":"Practical Form","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132701571","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}
Pub Date : 2020-10-01DOI: 10.12987/9780300255713-005
{"title":"CHAPTER THREE The Analysis of Beauty, I","authors":"","doi":"10.12987/9780300255713-005","DOIUrl":"https://doi.org/10.12987/9780300255713-005","url":null,"abstract":"","PeriodicalId":346989,"journal":{"name":"Practical Form","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116154078","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}
Pub Date : 2020-10-01DOI: 10.12987/9780300255713-007
{"title":"CHAPTER FIVE Making Art in the Third Critique","authors":"","doi":"10.12987/9780300255713-007","DOIUrl":"https://doi.org/10.12987/9780300255713-007","url":null,"abstract":"","PeriodicalId":346989,"journal":{"name":"Practical Form","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116869459","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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