Diversity Reading List

Abstract: I propose a number of criteria for the adequacy of an account of pictorial realism. Such an account must: explain the epistemic significance of realistic pictures; explain why accuracy and detail are salient to realism; be consistent with an accurate account of depiction; and explain the features of pictorial realism. I identify six features of pictorial realism. I then propose an account of realism as a measure of the information pictures provide about how their objects would look, were one to see them. This account meets the criteria I have identified and is superior to alternative accounts of realism.

Summary: Abhinavagupta’s famed commentary on Bharatamuni’s treatise on drama, the Nāṭyaśāstra, in which he details aesthetic expression and experience according to a theory of rasa, or aesthetic relish. Abhinavagupta’s theory is the most influential account of how the rasas or aesthetic emotions transcend the bounds of the spectator and artwork in a three-part process including depersonalization, universalization, and identification.

Publisher's Note: This book examines six modern art trials covering a wide range of legal and artistic considerations ... the first in-depth examination of the art trial from every intriguing point of view.

Summary: The earliest extant Chinese treatise on music. The Yue Ji presents largely Confucian ideas on the connections between music, self-cultivation, proper governance, and the realization of natural patterns. Human character is described as a musical progression with ties to the transformation of sound into a kind of music that is distinguished by its relationship to virtue. The exact identity of the author(s) is debated, and it is believed to have been compiled from various sources no later than the middle of the Western Han dynasty (206BCE-24CE).

Publisher's Note: During the Middle Ages and the Renaissance, women were blamed for having too much passion, imagination and sexual appetite. By the late eighteenth century, however, these qualities had been revalued and appropriated for male artists. The virtues attributed to the Romantic"genius" made him like a woman but not a woman. He belonged to a third, supermale sex. As new and old concepts of woman and genius clashed, there evolved a rhetoric of sexual apartheid which today still affects our perceptions of cultural achievement. Genius from the time of the Greeks has been defined as male. In this study, Christine Battersby traces the history of the concept of genius from ancient Rome to the present day, showing how pagan myths linking divinity with male procreativity have survived into our own time. The author explores the dilemma faced by female creators who have resisted the idea that Art requires "feminine" qualities of mind but male sexual energies. GENDER AND GENIUS argues, against those currently seeking to establish an aesthetics of the "feminine," that a feminist aesthetics must look to the achievements of women artists in the past as well as in the present.

Summary: Bishop offers a critique of "relational aesthetics" - an approach to installation art that originated in the 1990's and whose main proponent and interpreter was Nicolas Bourriaud. Bourriaud's chief claim is that the art movement in question promotes intersubjective relationships (between artist and audience members and among audience members alike) and privileges social and political cohesion over other possible aspects of the aesthetic experience. While Bishop finds this ethos applicable to the work of the artists Bourriaud chooses to discuss (Rikrit Tiravanija, Liam Gillick etc.), she finds it difficult to reconcile relational aesthetics with the realities and concerns of the larger artworld. Antagonism is for Bishop just as viable a driving force in the making and appreciation of art as are social cohesion and intersubjective togetherness. Furthermore, as the history of early performance art and its reception shows, what makes art difficult, and thus politically important, is precisely the tensions that the makers and theorists of relational aesthetics attempt to quell.

Introduction: This essay will explore the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining the recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant use of 'obscene'. Kuspit's examples of activist art - the work of Jenny Holzer, Barbara Kruger, and Adrian Piper - are presented in light of his charges. I then explore Piper's art in depth in order to outline ways of expanding the notion of aesthetic value beyond its traditional confines. Finally, I suggest moving beyond entrenched, traditional patterns of assessment and invite underrepresented voices to contribute to the emerging discussion of the multiplicity of aesthetic values.

Abstract: Recently, philosophers have discovered that they have a lot to learn from, or at least to ponder about, fiction. Many metaphysicians are attracted to fiction as a model for our talk about purported objects and properties, such as numbers, morality, and possible worlds, without embracing a robust Platonist ontology. In addition, a growing group of philosophers of mind are interested in the implications of our engagement with fiction for our understanding of the mind and emotions: If I don't believe that Anna Karenina exists, can I really pity her, or hope or desire that she extricate herself from her tragic situation? And why is there no 'morality fiction,' analogous to science fiction? I suspect that philosophers have been especially comfortable thinking about fiction because it seems, at least prima facie, to employ the imagination in a way that conforms to a standard model of the mind. Specifically, contemporary philosophers tend to think of imagination as a form of mental pretense. Mental pretense can take two main forms: a cognitive attitude of supposing a set of propositions to be true (make-believe) or else an experiential state of imaging a scenario as if it were before one (imaging). Much of our pretense intertwines the cognitive and experiential modalities, of course. But both share a crucial common feature: all of one's imaginative effort is invested in pretending that certain contents obtain. In this sense, we can understand imagination as the 'offline' simulation of actual beliefs and perceptions (and perhaps other attitudes as well), where we analyze these in the normal way, as states individuated by their attitude and representational content. While I share the burgeoning interest in fiction, I want to suggest that we also have a lot to learn from poetry, and in particular from poetic metaphor. I will argue..

Summary: Chakrabarti explores the possibilities of rasa theory via the question of whose emotion is experienced when an audience relishes a work of art. Chakrabarti argues for the existence of a “centerless non-singular subjectivity” according to which the special emotions savored in aesthetic experience do not have specific owners. These personless sentiments indicate an ethical relationship between aesthetic imagination and moral unselfishness.

Summary: An outline of the theory of interpretation within the language philosophies of ancient India. Chari organizes this extensive history according to topics such as verbal autonomy, intention, unity of meaning, polysemy, contextualism, and interpretation.

Abstract: Cognitive theories of emotions have provided us with explanations of how we emotionally engage with fiction, when we are aware that what is depicted is fictional. However, these theories left an important question unanswered: namely, what kinds of emotional responses to fiction are warranted responses. The main focus of this paper is how our emotional responses to fiction can be aesthetically warranted - that is, how emotions directed to fiction can be warranted given the fact that its object is an artwork. I consider three possible explanations of this phenomenon: the real-life principle, a correspondence model, and a functional model. I argue that the real-life principle and the correspondence model fall short of explaining how our emotional responses to film are aesthetically warranted, and instead I argue that a functional model provides such an explanation. In this paper, I will primarily focus on fiction films, although I will address novels and other art forms where necessary.

Summary: A study of the Taoist (Daoist) concept of creativity as a non-instrumental process in which all things create themselves. Chang argues for the foundational place of this understanding of self-emergent creativity in the aesthetics of Chinese art.

Summary: An explication of the Pali aesthetic term samvega as the state of shock and wonder at a work of art that occurs when the implications of its aesthetic qualities are experienced. Despite being an emotion, Coomaraswamy associates samvega with disinterested aesthetic contemplation.

Introduction: Western philosophers at least as far back as Plato and Aristotle have been interested in question concerning narrative art: what it is, why it engages us, and how engagement with it affects us. An important part of the philosophical discussion has focused on the relationship between narrative art and emotion, for many have thought the power and influence of anarrative art comes primarily form its ability to arouse strong emotions. In this paper I focus on one type of narrative art: narrative fiction film. In many ways the film viewing experience is ideal for the purpose of promoting emotional engagement. Due to the nature of narrative fiction film and the structure of the viewing experience, watching and experiencing film puts us in a unique position to become cognitively and emotionally engaged while remaining aware of the fact that the object of our engagement is fictional...

Abstract: There is still little consensus among scholars regarding how best to characterize the relationship between readers of fictional narratives and the characters in those narratives. Part of the problem is that many of the explanatory concepts used in the debate - concepts like identification and empathy - are somewhat vague or ambiguous. In this article, I consider some recent relevant empirical research on text processing and narrative comprehension and argue for a pluralist account of character engagement, in which empathy plays an important role. In Section I, I review several empirical studies that strongly suggest that readers often adopt the perspective of one or more of the characters in fictional narratives. In Section II, I turn to the concept of empathy and provide an explanation of empathy based on models and research in empirical psychology. I focus in particular on self-other differentiation, a critical feature of empathy that has been underemphasized in the literature. Next I discuss two psychological phenomena that are closely related to empathy and often confused or conflated with it: emotional contagion and sympathy. In the final section of the paper, I employ the account of empathy developed in Section II to address Noel Carroll's objections to the view that readers typically empathize with fictional characters.