George Dickie’s The Century of Taste is a readable and informative guide to the family of eighteenth-century aesthetic . Dickie – Teoria Institucional Da Arte. Arthur Coleman Danto (Ann Arbor, 1 de janeiro de — Nova Iorque, 25 de outubro de cunha a expressão “mundo da arte”, que, por ser mal interpretada, teria levado o filósofo George Dickie a elaborar sua “teoria institucional da arte”. En El círculo del arte, Dickie revisa las anteriores versiones de la teoría institucional, saliendo al paso de las críticas que se han hecho a las mismas, y expone.

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George Dickie

Intentionality and the Aesthetic Attitude. In the first part the definitional proposals of Weitz, Dickie and Beardsley are discussed and their major shortcomings as well as their positive insights are presented.

Le rejet de l’art contemporain: Most widely held works about George Dickie. Dickie suggests that this prin- ciple appears for the first time in Gerard’s writings and has not been noted This content downloaded from Turning to critique, Dickie declares that Kant’s conception of beauty “is entirely implausible and flies in the face of common and philosophical sense” Critical Essays in a Pluralistic Art World came out, a compilation instiucional his art reviews published in The Nation since Dickkie as reflexive Practice.

Dickie’s grand narrative claims Hume “all but per- fected” the theory of taste, while the associationists, on the one hand, and Kant, on the other, led it down a georgr of blind alleys 4.

The Artworld and the Institutional Theory of Art.

It has been both revered and deplored, garnering such We use information technology georgee tools to increase productivity and facilitate new formsof scholarship. Dickie has defined ‘work of art’ as.

The Art George Dickie

The title gives the game away. Danto’s Philosophy of Art.

For an excellent discussion of Hume’s position, cf. A reply to Professor Margolis by George Dickie 1 edition published in in English and held by 3 WorldCat member libraries worldwide. The institutional theory proposed by George Dickie stems from an effort to define art so as to accommodate the avant-garde. It remains to be seen whether the mean that Dickie achieves, although admittedly in a gem of a book, is actually the golden one. The responses of the cultural theories in the s to these earlier developments are then discussed in detail.


This is a slim volume it runs to only pages but it is a gem, polished and worked over with the care the ideas deserve, and with the attention to detail that only someone who cares can give. The century of taste: This content downloaded from It is argued that Beardsley is on the right track with his functional definition, but determines the function of art in a wrong way.

Our sense of beauty is affective, not cognitive, and it can be triggered by intellectual objects mathematical theorems and the theory of gravity as well as sensory ones Dickie is equally harsh in his assessment of Kant’s contribution to the taste tradition. Cornell University Press, Remember me on this computer. I consider this to be another argument in favor of the view that art has taken the place of religion in the philosophical consciousness. The result is a new institutional theory that Dickie develops and illustrates in terms of the critical literature pertaining to the old one.

The Art Circle, p. Louis This content downloaded from Art and the aesthetic: Having noted Mandelbaum’s invaluable sug- gestion about definition, I now return to Weitz’s.

University of Illinois Press on behalf of Among current philosophies of art two programs stand out as responding in especially innovative ways to this anti-essentialist challenge.

A recent criticism of George Dickie’s definition of art focused on ber of well-taken points concerning Dickie have been greatly influential, each in its own way, in establishing a major trend in post art theory. For just as Wittgenstein contends that no central “essence” binds together all the different things that are correctly referred to as games, so is one tempted to draw the same anti-essentialist conclusion with regard to works of art.

In the yearwe had a long conversation with Arthur C. In fact what Dickie draws out of critical discussions, including his own, is a mature understanding of what philosophical “definitions” are about, and the ways in which circularity can be a vice, or a virtue. Leonardo, Volume 10, Number 4, Autumnpp. The philosophies of Arthur Danto and George. Le but de notre contribution sera de distinguer entre ces deux types de jugements: If so, the generalists maintain that there are still general critical principles generated by these primary features.


We use information technology and tools to increase productivity and facilitate new formsof scholarship. Home Documents The Art Circle.

La teoría institucional del arte de George Dickie: génesis y problemas :

He argues at length that Alison is mistaken about the content of the experience of taste-that neither an initiating simple emotion nor a subsequent complex emotion nor a unified train of association ddl necessary for a taste experience The version of the institutional theory that I worked out in in Art and the Aesthetic was defective in several respects, but the institutional.

What Hume does do, according to Dickie, is construct a theory of taste consisting of many “weak” principleseach identifying a trait that in isolation con- tributes to or detracts from an object’s beauty. Dickie’s prose is so simple and lucid, here, that these sections would be especially appropriate for general introduc- tory texts and anthologies where they would be a pleasure to teach.

But there is one large ques- tion Dickie’s wide-ranging tworia informative study does not resolve. The most important of these is to abandon the view that one or more subjects forming an institution bestow the status of art upon an object, in favor of the possibility that, as ready-to-hand, the object recommends itself as aesthetically relevant to its public.

By means of these analyses I bring out the tendency in contemporary analytical philosophy of art to interpret the work of art via theological categories.