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The Mainstream and Prospects of Analytic Aesthetics

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2010, 32(), pp.37-62
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : December 30, 2010

Yu-Kyung Hwang 1

1관동대학교

Accredited

ABSTRACT

Shusterman's identification of the features and themes as most typical in analytic aesthetics. They are as follows: connection with the various aims and methods of analytic philosophy; critique of Crocean idealist aesthetics; anti-essentialism about art and the quest for clarity; the conception of aesthetics as a second-order discipline of metacriticism, i.e., philosophy of criticism; the neglect of natural beauty; a tendency to avoid the issue of evaluating art; lack of emphasis on art's social and historical context. In addition, I observe a general nature of discussions about analytic aesthetics’ characteristic topics. Here such kinds of questions in aesthetics as meaning, reference, fictionality, definition, concept, representation, and ontology are briefly dealt with. Another observation is made of a notable aspect of more recent work in analytic aesthetics. It has been a tendency to attend to the individual arts: literature, painting, photography, music and film. By attending to particular arts aesthetics becomes closer to actual critical practise. Learning the limits of analytic aesthetics, not a few theorists have been in need of deeper discussions of art's social, cultural, practical, and ethical dimensions. I suggest this is a desirable way for analytic aesthetics to revise its old paradigmatic questions concerning the nature of art. In the first place, it is remarkable that, more recently, analytic aesthetics has shed new light on John Dewey's pragmatist thinking. Considering Shusterman's argument that pragmatist and analytic aesthetics are not entirely incompatible, I expect that future analytic aesthetics will more actively embrace Dewey's crucial insights concerning art's social and practical dimensions. Next, having observed the very radical changes in the artworld after a mid-20th century, Anglo-American theorists engaged in the analysis of them looked not to analytic aesthetics but to Continental tradition for guidance. For Continental thinking, discussing art in terms of a much broader cultural context of social change, offered them the kind of theory they were looking for. However, I show that some main issues, especially of Postmodern thinking are, in fact, not alien to analytic aestheticians. Here again, I prospect that future analytic aesthetics should look at art more directively and actively in its broader sociocultural context.

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