The Republic of Art

Diffey, T. J.

doi:10.1093/bjaesthetics/9.2.145

Cited by 67 publications

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“…This account was later elaborated at length in Danto (1981), where emphasis is put on artworks acquiring aboutness and meaning in virtue of their relations to the artworld that surrounds them. According to Dickie (1969), developed further in Dickie (1974), an artwork is an artefact offered as a candidate for appreciation by someone acting on behalf of the artworld, the social structure invoked by Danto, and alternatively dubbed 'the republic of art' in Diffey (1969). According to Binkley (1977), in the most minimal of institutional theories, an artwork is merely something indexed in accord with artworld practices of indexing, i.e.…”

Section: The Definition Of Artmentioning

confidence: 99%

Philosophical Aesthetics: An Overview

Levinson

2009

Oxford Handbooks Online

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This article focuses on the domain of aesthetics and various problems and issues associated with aesthetics. Aesthetics is the branch of philosophy devoted to conceptual and theoretical inquiry into art and aesthetic experience. This article offers first an outline of the structure of philosophical aesthetics as a whole, and then a selective sketch of the development of Anglo-American aesthetics over the past fifty years, focusing on five central topics: the concept of the aesthetic, the definition of art, the ontology of art, representation in art, and expression in art. The three foci of aesthetics are labeled as art, aesthetic property, and aesthetic experience.

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Section: The Definition Of Artmentioning

confidence: 99%

Philosophical Aesthetics: An Overview

Levinson

2009

Oxford Handbooks Online

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“…Anscombe's distinction between 'brute facts' and 'institutional facts '-', concluding that the fact that a certain artifact is an artwork is essentially an institutional fact, not One of the natural world. Such institutional facts, which fix the very identity conditions of a work of art, are determined by a special cultural realm akin to the "Republic of Letters": He called it "The Republic of Art" [Diffey 1969]. In the midst, Joseph Margolis, wary of hasty decisions about the ontological nature of artworks, warns against excessive idealism on the one hand, and excessive (or reductive) materialism, on the other ~.…”

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confidence: 99%