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| Volltext: | Index Aagaard-Mogensen, Lars, 45 Aesthetic appreciation, and the institutional definition, 107-110 Aesthetic attitude, 48-49, 110, 185— 186; and correct approaches to art, 63-64, 173-174 Aesthetic experience, 52-54, 62-63, 140, 173-174; and the value of art, 54-62 Aesthetic properties, 64, 107-108, 110, 130, 171, 183-185; affected by art status, 66-71; and appreciation of artwork, 147-148; and artistic conventions, 194-197, 216; and artists' intentions, 159-160 Aldrich, Virgil С., 184-185 Alexander, Hubert G., 107 Alperson, Philip, 163 Art and its objects. See Nature of art; Physical embodiment of artworks; World without art Artifactuality: (a)-type artifacts and (b)- type cultural significance, 123-128; definition, 124-135; as a necessary condition for art status, 5, 11, 115, 120-123, 136-138, 140-141, 158; and ontology of art, 139-140 Artistic properties. See Aesthetic properties Artists' intentions. See Aesthetic properties; Categories of art; Definition of art; Intentional fallacy; Intentions; Interpretation Art status. See Conferral of art status; Evaluation Artwork: classification and evaluation, 42-46, 164; an essentially contested concept, 7; interpretability, 155, 161-162; Ur artworks, 12-13, 105— 106, 167-170; uses of the word, 9- 10, 14-15. See abo Physical embodiment of artworks Artworld: authority and roles of, 79, 85-92, 95-97, 109, 112, 138-139, 177-180; and the historical context of art making, 81, 83-84, 87, 94- 96, 111-112, 219; and the isolated artist, 100, 102-106; membership of, 80 Austen, Jane, 15 Authority and roles. See Artworld Avant-garde art. See "Hard cases" Bach, J. S., 4, 16 Bachrach, Jay, 43, 99, 101 Barrett, Cyril, 42 Battel, Timothy W., 97 Battin, Margaret P., 39 Baxter, Brian, 98 Beardsley, Monroe C., 9, 12, 62, 67, 119, 161, 192; on aesthetic experience and its value, 53-55, 63-64, 173; alleged formalism of, 64-65; on artifactuality, 115, 121, 136-137, 158; on conditions defeating a claim to art status, 56, 91-92; as critic of 239 240 Index Beardsley, Monroe С. (continued) institutional theory, 45, 83, 99, 102, 107, 109; on definition as essentially evaluative, 42, 56-57; his functional definition, 52-58, 70; as functionalist, 3, 38, 48, 74-77, 91-92; and the intentional fallacy, 63, 172, 182, 186-187, 196; rejection of Duchamp's readymades as artworks, 56, 71-72, 92, 136-137, 165 Beethoven, Ludwig van, 191 Bell, Clive, 4 Berleant, Arnold, 7 Binkley, Timothy, 6, 88, 107, 122 Blizek, William L., 85, 89, 107 Bond, E.J., 9 Borges, Jorge Luis, 40 Bourdieu, Pierre, 8, 93 Brand, Peggy Zeglin, 98 Brown, Lee В., 10, 15, 93 Bullough, Edward, 184 Burroughs, Edgar Rice, 63 Bywater, William G., 15 Cage, John, 39 Carney, James D., 8 Carrier, David, 80, 116, 143-151, 154, 156 Carroll, Noël, 18, 52, 99, 107, 117, 167-169, 179 Categories of art: and artists' intentions, 198-203; and art status, 209; and evaluation, 201-202; and functionality of art, 202, 208-210 Cebik, L. В., 93 Cézanne, Paul, 91-92 Chambers, John H., 109 Charlton, William, 163 Cohen, Marshall, 183 Cohen, Ted, 45, 89, 96, 111 Coleman, Earle, 110 Conceptual art, 143, 154, 156, 175— 178 Conferral of art status, 116, 121-122, 138, 164-166, 171, 218; affecting aesthetic/artistic properties of artwork, 66-73; defeating conditions for, 39, 55-56, 70, 90-91; institutional account of, 82-88, 92-95, 101-102; proprietary rights involved in, 175-177; by tiding, 122, 138. See also Aesthetic properties; Categories of art; Conventions; Definition of art Conventions, 28, 32, 153; artistic, 194-196; and conferral of art status, 88, 220-221; as determinants of aesthetic/artistic properties, 194— 197, 216. See also Intentions; Interpretation Cormier, Ramona, 101 Cox, Renée, 155 Crawford, Donald, 160 Creativity, and rules, 15-18, 20, 98- 100, 105 Crowther, Paul, 45, 109, 129 Danto, Arthur C., 71, 94, 108, 141, 146, 148, 156, 160, 163-164, 183, 188; on the Artworld, 39, 80-81; on conditions defeating a claim to art status, 90-92; on difference in properties between artworks and "mere real things, " 66-69, 130, 157, 159, 166; on the end of art, 93-95; as proto-institutionalist, 81- 82; on the semantic character of art, 90-92, 161-162 Davies, Stephen, 58, 62, 97, 104, 186, 192, 197, 213 Debussy, Claude, 94 Defeating conditions for art status. See Conferral of art status; Forgeries Definition: essential, 5-6, 20-21; functional, 27-29; legislative, 6; and openness of concept, 19-20; operational, 28; procedural, 30-31 Definition of art: and artists' intentions, 118; Dickie's circularity of, 108-112; dispute between functionalist and proceduralist over, 46, 73-74; functional, 43-44, 52, 65, 70-73; historicist/intentionalist, 13, 47-48, 63, 76, 86-87, 117, 164- 181, 205-206; and poor art, 76-77; procedural, 40-45, 51, 78-79, 83- 84, 168-169; and symbol systems, 160-164. See also Function de Maria, Walter, 134 Dempster, Douglas J., 52 Index 241 Devereux, Daniel, 129, 136-137 Dewey, John, 48, 54 Dickie, George, 48, 52, 57, 62, 81, 98, 103, 107, 119, 126, 135, 137-138, 161, 185, 207, 212; on the aesthetic in his institutional definition, 107— 108, 110; his ahistoricism, 94-97; on artifactuality, 83-84, 115, 120— 123, 125, 128-129, 132, 136; on artmakers as artists, 89-90, 94; on the circularity of his institutional definition, 108-112; on conditions defeating a claim to art status, 94; as critic of Weitz, 12-15, 122-123, 136; on the democratic nature of the Artworld, 80, 84-88, 94, 96; his institutional definition, 79, 82, 84, 99; and the point of art, 45, 50-51, 113-114; as proceduralist, 3, 38, 45 Diffey, Terry J., 11, 45, 62, 80, 83, 101 Dipert, Randall R„ 121, 125, 158-159 Donne, John, 15 Donnell-Kotrozo, Carol, 88, 96 Driftwood art, 5, 11, 39, 123, 134, 137-138 Driftwood sentence (TIDAL WAVE IN ONE HOUR), 126-127, 152-153 Ducasse, Curt J., 4, 184 Duchamp, Marcel, 2, 13, 19, 39, 41, 45, 56-57, 67, 74, 95, 116, 128, 130-135, 138-139, 146, 157, 165; as important in the history of art, 75; versus urinal salesman, 84-89, 96-97. See also "Hard cases"; Readymades Dutton, Denis, 120 Dziemidok, Bohdan: 45, 52 Eaton, Marcia M., 120, 126-128, 132, 152 Eldridge, Richard, 65 Elgin, Catherine Z., 8 Evaluation: and art status, 76-77, 210-211; and categories of art, 201-202; and classification, 42-46, 164; and point of art, 42-44, 208- 209 Ewin, R. E., 30 Family resemblance, 6-7, 11-14 Feagin, Susan L., 118, 211-216 Fletcher, James J., 45, 88-89, 121, 136-137 Forge, Andrew, 160 Forgeries, 91, 94, 165 Formalism, in Beardsley's account, 64- 66 Fry, Roger, 4 Function: of art, 50, 56, 72-73, 76, 220; of art and evaluation, 42-44, 208-209; and definition of art, 38- 41, 43-44, 52, 65-67, 70-76; and divorce from procedure, 32-38; and symbol systems, 160-164. See also Categories of art Gallie, W. В., 7 Gilbert, W. S., 102 Glickman, Jack, 126, 147 Godlovitch, Stan, 65 Goldman, Alan H., 107 Goldsmith, Steven, 80, 88-89 Goodman, Nelson, 8, 160-163, 184 Grice, H. P., 153-154, 194 Grossman, Morris, 63-64 Haines, Victor Yelverton, 169 Hammerstein, Oscar, 102 "Hard cases, " 39-40, 56, 74. See also Conceptual art; Driftwood art; Minimal art; Readymades Harrison, Andrew, 152 Hegel, G. W. F., 93, 95 Hepburn, R. W., 160 Hermerén, Göran, 107 Historicist definitions of art. See Definition of art Hoffnung, Gerald, 40 Holtzman, S. H., 16 Hospers, John, 120 Humble, P. N.. 45, 52, 73 Indissolubility of art and its objects. See Sclafani, Richard J.; Wollheim, Richard Intentional fallacy, 63, 172, 186-187, 196 Intentionalist definition of art. See Definition of art 242 Index Intentions: and categories of art, 198— 203; and conventions, 204-205, 212-217; and functionalism, 217. See also Intentional fallacy; Interpretation Interpretation: and artists' intentions, 172, 181-182, 187-189, 194-197, 205; and artwork, 155, 161-162; and audiences' intentions, 189-193. See also Conventions Iseminger, Gary, 99, 107, 129-132 Ives, Charles, 94 Jamieson, Dale, 94 Kant, Immanuel, 4, 16, 60, 149 Karlen, Peter H., 175 Kennick, William E., 4, 7-9, 162 Khatchadourian, Haig, 7, 12, 21 Kivy, Peter, 8, 147 Kjörup, Sörén, 45, 96 Kolak, Daniel, 169 Konstan, David, 64 Korsmeyer, Carolyn, 107 Kovesi, Julius, 30 Kripke, Saul, 17, 104 Krukowski, Lucián, 45, 117, 164-168, 171, 179 Kuhns, Richard, 93 Kuspit, Donald, 164 Lake, Beryl, 4 Langer, Susanne К., 4, 163 Leddy, Thomas, 8 Lehár, Franz, 102 Leich, С. M., 16 Lennon, John, 102 Levinson, Jerrold, 18, 42, 65, 102, 109, 117, 119, 161, 169-179 Lipman, Matthew, 45 Lord, Catherine, 8, 62, 98, 111 Lyas, Colin, 89, 123 McCartney, Paul, 102 McFee, Graham, 46, 65, 106, 109, 114 McGregor, Robert, 42, 99, 107, 111 Mandelbaum, Maurice, 11, 15, 20-21 Manser, Anthony, 11, 21 Margolis, Joseph, 15, 121, 125, 139, 151-152, 156, 161-162, 164 Mark, Thomas Carson, 120, 135 Masaccio, 101 Matthews, Robert J-, 8 Mendelssohn, Felix, 15 Mendenhall, V., 110 Messiaen, Olivier, 40 Michelangelo Buonarroti, 15, 92 Minimal art, 135, 140-143, 154, 156 Mitias, Michael H., 88, 107, 111, 126, 147 Moore, Henry, 86-87 Moravcsik, Julius, 113 Morton, Bruce N., 45, 85 Mothersill, Mary, 8, 16 Moutafakis, Nicholas J., 9 Mozart, W. A„ 65, 185, 201, 203 Nash, Roger, 45 Nathan, Daniel 0., 199-200 Nature of art, 116-117, 142-143, 150-151, 156, 158 Novitz, David, 95, 167 Ontology of art, 117. See also Artifac-tuality; Nature of art; Physical embodiment of artworks; World without art Osborne, Harold, 11, 43, 45, 50, 120 Passmore, John, 7 Pepper, Stephen C., 42 Physical embodiment of artworks, 151-154 Picasso, Pablo, 15, 91, 184, 201 Plato, 4 Point of art. See Evaluation; Function Pollock, Jackson, 190 Rader, Melvin, 78 Readymades, 13-14, 85, 88, 116, 128, 134-135, 138; accepted as artworks by Dickie, 45; aesthetic/artistic properties of, 67, 71, 130-132, 146, 157; as "hard cases, " 39, 73-76; rejected as artworks by Beardsley, 56-57, 71-72, 136-137, 165 Rembrandt van Rijn, 161 Richards, I. A., 54 Richardson, David В., 107 Rodin, Auguste, 92, 97 Rogers, William, 102 Index 243 Roles. See Artworld Ross, Stephanie, 93 Rossini, Gioacchino, 65 Rules. See Creativity, and rules Ryckman, Thomas C, 129 Sagoff, Mark, 184 Sankowski, Edward, 97, 120, 136-137 Sartwell, Crispin, 162, 169, 184 Savedoff, Barbara E., 107 Saxena, Sushil Kumar, 110 Schlesinger, George, 45, 52, 120 Schönberg, Arnold, 65, 199 Schopenhauer, Arthur, 149 Schultz, Robert A., 107 Sciafani, Richard J., 15, 143; on ar-tifactuality, 116, 120, 126-128, 132; as critic of Dickie's institutional theory, 85, 96; on the indissolubility of art and its objects, 151-156 Shakespeare, William, 15, 191, 203 Shelley, Percy Bysshe, 54 Shusterman, Richard, 8, 45, 93 Sibley, Frank, 15, 107, 129-130 Silvers, Anita, 45, 88, 93, 97, 133— 134, 167 Simpson, Alan, 85 Sircello, Guy, 7 Snoeyenbos, Milton H., 10, 14-15, 110 Socrates, 8, 145 Sparshott, Francis, 45, 51, 97, 125, 161 Stalker, Douglas F., 121 Stecker, Robert, 62, 109, 169 Stockhausen, Karlheinz, 40 Stravinsky, Igor, 65 Sullivan, Arthur, 102 Tatarkiewicz, Władysław, 7 Tchaikovsky, Piotr, 155 Tilghman, Benjamin R., 8-10, 43-44, 72-74, 161-162 Todd, George F., 15, 109, 121 Tolhurst, William E„ 52, 73, 154, 194-195 Tolstoy, Leo, 4 Tormey, Alan, 188 Turner, J. M. T., 146 Ur artworks. See Artwork von Morstein, Petra, 21, 163 Walhout, Donald, 78, 109 Walton, Kendall L., 183-184, 186, 198-202, 207-211 Warhol, Andy, 40 Webern, Anton, 93 Weitz, Morris, 2-22, 37, 115, 122- 126, 132, 136-137, 168 Welsh, Paul, 85, 109-110 Werhane, Patricia H., 45 Wieand, Jeffrey, 45-46, 85, 97, 99, 133-134, 136 Wimsatt, William K„ 186 Windeatt, Paul, 75 Wittgenstein, Ludwig, 6, 9, 14, 16, 104 Wolfe, Tom, 80 Wollheim, Richard, 39, 90, 97, 155, 164, 183; on artifactuality, 133, 135; as critic of Dickie's institutional theory, 45, 97, 113-114; on the indissolubility of art and its objects, 142— 143, 156 Wolterstorff, Nicholas, 105 Wordsworth, William, 4 World without art, 143-151 Wright, Crispin, 17 Zangwill, Nick, 107 Zemach, Eddy M., 42 Zerby, Lewis K., 12 Ziff, Paul, 7, 12, 183 |
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