James O. Young - Böcker

This work is a translation of part of Memoires de l'Amerique Septentrionale, Ou La Suite Des Voyages de Mr. Le Baron de Lahontan (1703) by Louis-Armand de Lom d'Arce de Lahontan. The dialogues are the result of conversations between Lahontan (1666–1716), a French officer of marines and Kondiaronk (c. 1649–1701), a Wendat chief. These Dialogues are important for at least two reasons. First, they provide a glimpse into the views on theology and political philosophy of the First Nations of the Eastern Woodlands during the seventeenth century. Moreover, unlike many of the accounts of these beliefs provided by Christian missionaries, the account is sympathetic: Lahontan's use of the word 'sauvage' was, as he writes in his preface, intended as complimentary, and we have reason to believe that he provided at least a reasonably accurate representation of the Wendat people's view of the world. Second, the Dialogues had a significant impact on European thinking about religion and political philosophy in the eighteenth century. They are the most important source of the myth of the noble savage, and they influenced the development of deism in Enlightenment Europe. The translation of the text is accompanied by a detailed Translators' Introduction which puts the Dialogues in context and traces their extensive influence. The Dialogues influenced Chateaubriand, Diderot, Leibniz, Montesquieu, and Voltaire. They likely influenced Rousseau, though no direct impact has been demonstrated.

The question of whether aesthetic judgements are simply statements about subjective preferences or whether they have some non-subjective basis is one of the most important questions of aesthetics, and, indeed, of philosophy. In recent years, philosophers of language have discussed aesthetic judgements, but have assumed that aesthetic judgements are similar to judgements that employ predicates of personal taste such as 'tasty' and 'delicious.' A speaker's judgement that an item of food is tasty is a report about the speaker's subjective response to that item of food. If aesthetic judgements are like judgements that employ predicates of personal taste, to judge that the St. Matthew Passion is glorious is also a report about what some listener likes. If two people disagree about whether the St. Matthew Passion is glorious, neither has made a mistake. Philosophers of art have tended to disagree with this view. They have distinguished aesthetic predicates such as 'serene,' 'balanced,' and 'glorious' from predicates such as 'tasty.' On this view, the judgement that some artwork is serene or even that it is beautiful is a report about the work, not a report about how a person responds to the work. Aesthetic judgements are not just statements about personal preferences. This volume brings together some of the leading contemporary philosophers of art and philosophers of language to debate the status of aesthetic judgements. Are they simply expressions of personal preference? Is there more basis for saying that a painting is beautiful or serene than there is for saying that a cake is tasty? Is disagreement about aesthetic judgements faultless or can someone be mistaken about the aesthetic value of an artwork?

The Fine Arts Reduced to a Single Principle (1746) by Charles Batteux was arguably the most influential work on aesthetics published in the eighteenth century. It influenced every major aesthetician in the second half of the century: Diderot, Herder, Hume, Kant, Lessing, Mendelssohn, and others either adopted his views or reacted against them. It is the work generally credited with establishing the modern system of the arts: poetry, painting, music, sculpture and dance. Batteux's book is also an invaluable aid to the interpretation of the arts of eighteenth century. And yet there has never been a complete or reliable translation of The Fine Arts into English. Now James O. Young, a leading contemporary philosopher of art, has provided an eminently readable and accurate translation. It is fully annotated and comes with a comprehensive introduction that identifies the figures who influenced Batteux and the writers who were, in turn, influenced by him. The introduction also discusses the ways in which The Fine Arts has continuing philosophical interest. In particular, Young demonstrates that Batteux's work is an important contribution to aesthetic cognitivism (the view that works of art contribute importantly to knowledge) and that Batteux made a significant contribution to understanding the expressiveness of music. This book will be of interest to everyone interested in the arts of the eighteenth century, French studies, the history of European ideas, and philosophy of art.

Anne Le Fèvre Dacier (1645-1720) was the most important woman of letters of her time and Of the Causes of the Corruption of Taste is her most significant work. This book is one of the wellsprings of modern aesthetics. While Dacier was a classical philologist—not an aesthetician or philosopher of art—in several ways she anticipated and laid the groundwork for subsequent writers on the fine arts, including Batteux and Du Bos, both of whom cite her. Her views on art are at least as sophisticated and interesting as those found in contemporaries such as Addison and Shaftesbury or anyone in France. Dacier addresses topics that would become staples in the philosophy of art, in many cases long before other writers did. She contributed to the demise of the rationalist approach to art criticism and to the rise of the view that the beauties of art are apprehended by means of experience, a view which came to dominate eighteenth-century thinking about the arts.Dacier was one of the first eighteenth-century authors to emphasize that art is essentially the imitation of nature and belle nature. She raised questions about whether art can be a source of moral knowledge long before this became a widely discussed question in the philosophy of art. She richly deserves a prominent place in the early history of aesthetics. This volume is the first-ever translation of a work by Dacier into English. It includes a substantial introduction that not only examines her contributions to the philosophy of art but also traces her influence on the development of the subject through the eighteenth century.

Why do we value music? Many people report that listening to music is one of life's most rewarding activities. In Critique of Pure Music, James O. Young seeks to explain why this is so. Formalists tell us that music is appreciated as pure, contentless form. On this view, listeners receive pleasure, or a pleasurable 'musical' emotion, when they explore the abstract patterns found in music. Music, formalists believe, does not arouse ordinary emotions such as joy, melancholy or fear, nor can it represent emotion or provide psychological insight. Young holds that formalists are wrong on all counts. Drawing upon the latest psychological research, he argues that music is expressive of emotion by resembling human expressive behaviour. By resembling human expressive behaviour, music is able to arouse ordinary emotions in listeners. This, in turn, makes possible the representation of emotion by music. The representation of emotion in music gives music the capacity to provide psychological insight-into the emotional lives of composers, and the emotional lives of individuals from a variety of times and places. And it is this capacity of music to provide psychological insight which explains a good deal of the value of music, both vocal and purely instrumental. Without it, music could not be experienced as profound. Philosophers, psychologists, musicians, musicologists, and music lovers will all find something of interest in this book.

Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics.

Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics.

This book offers a systematic survey of ethos theory: the theory according to which the right sort of music can have a positive or negative effect on moral development. It also evaluates the extant empirical literature on music and moral development.The belief that the right sort of music promotes moral development is almost ubiquitous. At every stage in the history of philosophical thinking, many philosophers have believed that the right sort of music is conducive to moral improvement and the wrong kind of music can produce moral decay. This book has three main goals. The first is to inform readers about the range of thinkers and cultures (Asian, African and European) which have adopted some version of the ethos theory. The book surveys the history of ethos theory starting with its origins in ancient Greece and ancient China, proceeding to trace its development through the Middle Ages and into the early modern period. Next, the development of ethos theory is traced from the middle of the nineteenth century to the present. The second goal is to investigate what would count as evidence that ethos theory is correct, paying specific attention to the complex ways that people experience music. Finally, the author evaluates the currently available empirical evidence for ethos theory.Critique of Practical Music will appeal to philosophers, psychologists, musicologists and music educators who are interested in music and moral development.

This book presents a comprehensive, accessible survey of Western philosophy of music from Pythagoras to the present. Its narrative traces themes and schools through history, in a sequence of five chapters that survey the ancient, medieval, early modern, modern and contemporary periods. Its wide-ranging coverage includes medieval Islamic thinkers, Continental and analytic thinkers, and neglected female thinkers such as Vernon Lee (Violet Paget). All aspects of the philosophy of music are discussed, including music and the cosmos, music's value, music's relation to the other arts, the problem of opera, the origins of musical genius, music's emotional impact, the moral effects of music, the ontology of musical works, and the relevance of music's historical context. The volume will be valuable for students and scholars in philosophy and musicology, and all who are interested in the ways in which philosophers throughout history have thought about music.

This book presents a comprehensive, accessible survey of Western philosophy of music from Pythagoras to the present. Its narrative traces themes and schools through history, in a sequence of five chapters that survey the ancient, medieval, early modern, modern and contemporary periods. Its wide-ranging coverage includes medieval Islamic thinkers, Continental and analytic thinkers, and neglected female thinkers such as Vernon Lee (Violet Paget). All aspects of the philosophy of music are discussed, including music and the cosmos, music's value, music's relation to the other arts, the problem of opera, the origins of musical genius, music's emotional impact, the moral effects of music, the ontology of musical works, and the relevance of music's historical context. The volume will be valuable for students and scholars in philosophy and musicology, and all who are interested in the ways in which philosophers throughout history have thought about music.

Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world (the Parthenon Marbles remain in London; white musicians from Bix Beiderbeck to Eric Clapton have appropriated musical styles from African-American culture) Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series

Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world (the Parthenon Marbles remain in London; white musicians from Bix Beiderbeck to Eric Clapton have appropriated musical styles from African-American culture) Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series

The Ethics of Cultural Appropriation undertakes a comprehensive and systematic investigation of the moral and aesthetic questions that arise from the practice of cultural appropriation. Explores cultural appropriation in a wide variety of contexts, among them the arts and archaeology, museums, and religionQuestions whether cultural appropriation is always morally objectionableIncludes research that is equally informed by empirical knowledge and general normative theoryProvides a coherent and authoritative perspective gained by the collaboration of philosophers and specialists in the field who all participated in this unique research project