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Arthur C. Danto könyvei a rukkolán


Arthur C. Danto - The ​Madonna of the Future
Arthur ​C. Danto's urbane, informed, searching essays about art and the art world are the best record we have of the life of the visual arts in the United States today. The Madonna of the Future finds Danto at the point where all the vectors of the contemporary art world intersect: those of traditional painting, Pop Art, mixed media, and installation art; those of art and philosophy; those of the specialist who comes to the work fully equipped with theory and of the connoisseur who encounters it chiefly through the eyes. In his reviews of major exhibitions and gallery shows, Danto reflects on the work of past masters (Vermeer, Tiepolo), the great painters of the modern period (Dalí, de Kooning, Kline, Rothko, and Johns), and the pluralistic descendants of Andy Warhol who dominate the New York art scene today. Nietzsche, he points out, published an essay called "How to Philosophize with a Hammer"; Danto's own review essays are lessons in how to criticize with a feather, so find and considerate are his judgments of artists and of the nature of art in general.

Arthur C. Danto - Beyond ​the Brillo Box
In ​this collection of interconnected essays, Arthur C. Danto argues that Andy Warhol's Brillo Box of 1964 brought the established trajectory of Westen art to an end and gave rise to a pluralism which has changed the way art is made, perceived, and exhibited. Wonderfully illuminating and highly provocative, his essays explore how conceptions of art–and resulting historical narratives–differ according to culture. They also grapple with the most challenging issues in art today, including censorship and state support of artists.

Arthur C. Danto - Narration ​and Knowledge
Now ​in its third edition, Narration and Knowledge is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events (for example, "the Thirty Years' War began in 1618") and discusses why such sentences cannot be understood until the later event happens (no one could have said in 1618 that "the Thirty Years' War began today"). Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of Narration and Knowledge and considers its enduring legacy.

Arthur C. Danto - The ​Abuse of Beauty
Danto ​simply and entertainingly traces the evolution of the concept of beauty over the past century and explores how it was removed from the definition of art. Beauty then came to be regarded as a serious aesthetic crime, whereas a hundred years ago it was almost unanimously considered the supreme purpose of art. Beauty is not, and should not be, the be-all and end-all of art, but it has an important place, and is not something to be avoided. Danto draws eruditely upon the thoughts of artists and critics such as Rimbaud, Fry, Matisse, the Dadaists, Duchamp, and Greenberg, as well as on that of philosophers like Hume, Kant, and Hegel. Danto agrees with the dethroning of beauty as the essence of art, and maintains with telling examples that most art is not, in fact, beautiful. He argues, however, for the partial rehabilitation of beauty and the removal of any critical taboo against beauty. Beauty is one among the many modes through which thoughts are presented to human sensibility in art: disgust, horror, sublimity, and sexuality being among other such modes.

Arthur C. Danto - After ​the End of Art
Over ​a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today. Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist's philosophy), Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative. Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible.

Arthur C. Danto - A ​közhely színeváltozása
Danto ​a New York-i Columbia Egyetem filozófiaprofesszora, az analitikus filozófia egyik vezetõ képviselõje. Esszéivel, melyeket 1984 óta fõként a The Nation képzõművészeti folyóiratban publikál, elõkelõ helyet vívott ki magának az amerikai művészetkritikában, korunk esztétái között a legalaposabb és egyben a legizgalmasabb gondolkodó. 1981-ben kiadott, és a magyar olvasók számára ebben a kiadásban hozzáférhetõ könyve [The Transfiguration of the Commonplace] a modern képzõművészet értelmezésében kulcsfontosságú esztétikai kategóriák - reprezentáció, műalkotás, művészeti világ, stílus, metafora, kifejezés - fogalmi elemzését nyújtja.

Arthur C. Danto - Embodied ​Meanings
Ehhez a könyvhöz nincs fülszöveg, de ettől függetlenül még rukkolható/happolható.

Arthur C. Danto - 397 ​Chairs
What ​is a chair? More than 300 designers, architects, and furniture makers from around the world attempted to answer that question when they submitted chairs to an exhibition sponsored by The Architectural League of New York in 1986. Made from all manners of materials—steel, fabric, wood, plastic, aluminum, fiberglass—and running from serious solitary utilitarian seats to whimsical models, the range and variety of the designer's answers, all 397 of them illustrated here, are truly stunning.

Arthur C. Danto - The ​State-Of-The-Art
Essays ​discuss pop and performance art, Van Gogh, primitivism, Motherwell, Caravaggio, De Kooning, Kandinsky, Rousseau, Chagall, Rivera, and the end of art history.

Arthur C. Danto - Analytical ​Philosophy of History
Ehhez a könyvhöz nincs fülszöveg, de ettől függetlenül még rukkolható/happolható.

Arthur C. Danto - Connections ​to the World
Arthur ​C. Danto's lucid introduction to the central topics of Western philosophical thought remains an unparalleled guide to problems in metaphysics and epistemology that have engaged philosophers for several millennia. Examining the work of Plato, Berkeley, Descartes, Hume, and Wittgenstein, Danto explores debates about empiricism, the mind/body problem, the nature of matter, and the status of language, consciousness, and scientific explanation. In a new preface to this edition he considers the current relationship between philosophy and the humanities.

Arthur C. Danto - Borotvaélen
Arthur ​C. Danto, a New York-i Columbia Egyetem filozófiaprofesszora esszéivel,melyeket 1984 óta főként a The Nation képzőművészeti folyóiratban publikál,előkelő helyet vívott ki magának az amerikai művészetkritikában. Az Enciklopédia Kiadónál ez a második kötete. A közhely színeváltozása (The Transfiguration of the Commonplace),1996-ban jelent meg.

Arthur C. Danto - Philosophizing ​Art
Arthur ​Danto's work has always affirmed a deep relationship between philosophy and art. These essays explore this relationship through a number of concrete cases in which either artists are driven by philosophical agendas or their art is seen as solving philosophical problems in visual terms. The essays cover a varied terrain, with subjects including Giotto's use of olfactory data in _The Raising of Lazarus;_ chairs in art and chairs as art; Mel Bochner's Wittgenstein drawings; the work of Robert Motherwell, Andy Warhol, and Robert Irwin; Louis Kahn as "Archai-Tekt"; and visual truth in film. Also featured are a meditation on the battle of Gettysburg; and a celebration of the Japanese artist Shiko Munakata, an essay that is partly autobiographical.

Arthur C. Danto - Encounters ​and Reflections
Since ​1984, when he became art critic for The Nation, Arthur C. Danto, one of America's most inventive and influential philosophers, has also emerged as one of our most important critics of art. As an essayist, Danto's style is at once rigorous, incisive, and playful. Encounters and Reflections brings together many of his recent critical writings--on artists such as Andy Warhol, David Hockney, and Robert Mapplethorpe; and on the significance of issues like the masterpiece and the museum. The result is a spirited brief from the front lines of current aesthetic and philosophical debate.

Arthur C. Danto - Hogyan ​semmizte ki a filozófia a művészetet?
Vajon ​nem azért találták ki a filozófiát, hogy elbánjon a művészettel, s nem lehetséges-e, hogy a filozófiák végső soron büntetőintézmények, amelyek leginkább egy szörny fékentartását szolgáló - azaz valamiféle súlyos metafizikai veszélyt elhárítani igyekvő - labirintusra emlékeztetnek? A kötetbe Danto professzor művészetfilozófiai írásainak legjavát válogatta.

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