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The Theory Of Arts And Aesthetics, A Reality To Contemporary Society: Katian Approach
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STATEMENT OF THE PROBLEM
Aestheticians
have wandered more and more from the usual ground of aesthetic theory
into the philosophies of specific arts, such as music, film, dance, or
literature. The philosophies of the arts provide an invigorating role
for philosophers. By focusing on particular arts, philosophers have
been able to speak usefully to art historians, musicologists, and
literary critics and answer questions in their disciplines: the nature
of our comprehension of film narrative, pictorial perception, moral
education in the novel, or composition versus performance-based
standards in music, to name only a few.
The study view, however, is
that aesthetics has not yet faced one the most troubling features of
aesthetic life: the very difficult of knowing our aesthetic experience
and the consequent confusion and unreliability of what we take as our
taste. This problem could be referred to as aesthetic unreliability
which returns us to the very foundations of aesthetics and raises
questions about the authority of individuals’ assessments of their
aesthetic experience and all that follows from those assessments.
On
the other hand, aesthetic unreliability requires us to reconsider the
individual as both good judge and consumer. It suggests alternative
explanations for some of the more curious features of cultural life,
namely, that our taste is often incoherent, the practice of criticism
largely arbitrary and creative practices something of a free-for-all.
Aesthetic unreliability supports the view that our inner aesthetic lives
are more anarchic, protean, and unknown than we have been willing to
admit.
It is noted that the philosophical discipline of aesthetics
deals with theoretical problems arising out of the critical examination
of art and the aesthetic. Monroe Beardsley in his book titled general
aesthetics Problems in the Philosophy of Criticism as of 1958, implying
that aesthetics is about philosophical concepts that are used repeatedly
undiplomatically by critics of the arts, when they say that a work of
art such as a painting is beautiful or has aesthetic value, that it
represents some subject matter, has a well-composed form, is in a
particular style, and expresses some emotion. But aesthetics also deals
more broadly with the aesthetics of nature (Budd 1996, Carlson 2000) and
gardens (Ross 1998), and with the aesthetic appreciation of objects and
activities in everyday life (Dewey 1934). And even when focused on the
arts, philosophical aesthetics is concerned with the philosophical
problems that arise from the artist’s point of view as well as the
critic’s.
Consequently creativity, expression, representation, form,
and style are problems that can be addressed from the artist’s point of
view as well as the spectator’s. Besides, “the philosophy of criticismâ€
does not do justice to the breadth of concerns addressed by
philosophical aesthetics today. Some of the thorniest issues in
aesthetics relate directly to problems in general philosophy: What is
aesthetic value? Do the arts provide knowledge? Is there a special kind
of aesthetic experience or aesthetic perception? Most of the questions
that come up in theorizing about particular art forms the philosophy of
literature, the theory of the visual arts, the philosophy of music, the
philosophy of film, environmental arts and so on are general questions
having implications for other art forms.
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