Aesthetic Testimony

Aesthetic judgements that are formed on the basis of testimony are commonly held to be defective, illegitimate, or otherwise problematic. This book assesses the debate surrounding aesthetic testimony and argues for the surprising conclusion that this widespread view is mistaken. Aesthetic testimony is in no way inferior as a source of judgement when compared to either first-hand aesthetic judgement or testimony concerning non-aesthetic matters. Alongside establishing this position (an extreme form of 'optimism' concerning aesthetic testimony), Jon Robson also responds to the most prominent arguments for the opposing view ('pessimism' concerning aesthetic testimony). Along the way, it also re-examines our understanding of the norms which govern both judgement and assertion in aesthetics.

Aesthetic judgements that are formed on the basis of testimony are commonly held to be defective, illegitimate, or otherwise problematic. This book assesses the debate surrounding aesthetic testimony and argues for the surprising conclusion that this widespread view is mistaken. Aesthetic testimony is in no way inferior as a source of judgement when compared to either first-hand aesthetic judgement or testimony concerning non-aesthetic matters. Alongside establishing this position (an extreme form of 'optimism' concerning aesthetic testimony), Jon Robson also responds to the most prominent arguments for the opposing view ('pessimism' concerning aesthetic testimony). Along the way, it also re-examines our understanding of the norms which govern both judgement and assertion in aesthetics.

A COMPANION TO AESTHETICS This second edition of A Companion to Aesthetics examines questions that were among the earliest discussed by ancient philosophers, such as the nature of beauty and the relation between morality and art, while also addressing a host of new issues prompted by recent developments in the arts and in philosophy, including coverage of non-Western art traditions and of everyday and environmental aesthetics. The volume also canvases debates regarding the nature of representation, the relation between art and truth, and the criteria for interpretation, which are among the most hotly discussed topics in contemporary philosophy. In this extensively revised and updated edition, 168 alphabetically arranged articles provide comprehensive treatment of the main topics and writers in aesthetics. Major additions include historical overviews from the prehistoric to the present and a section on the individual arts. A Companion to Aesthetics will serve students of philosophy, literary criticism, and cultural studies - as well as the educated general reader - both as a work of reference and, with its many substantial essays, as a guide to the best thinking about the arts from the ancient Greeks to the dawn of the twenty-first century.

Engaging undergraduate students and instigating debate within philosophy seminars is one of the greatest challenges faced by instructors on a daily basis. How to Get Philosophy Students Talking: An Instructor’s Toolkit is an innovative and original resource designed for use by academics looking to help students of all abilities get the most out of their time spent in group discussions. Each chapter features thought experiments, discussion questions and further readings on topics within the following core areas of philosophy: Metaphysics Epistemology Philosophy of Mind Philosophy of Language Philosophy of Religion Philosophy of Science Political Philosophy Normative Ethics Applied Ethics Metaethics Aesthetics Group discussions and debates are a key part of undergraduate study and one of the best ways for students to learn and understand often complex philosophical theories and concepts. This book is an essential toolkit for instructors looking to get the most out of their philosophy students.

A critical survey of the contemporary philosophical debate about the word of others as a source of knowledge, pointing to areas of future research.

This compelling book defends realism concerning the aesthetic—in particular, concerning the aesthetic properties of works of art (including works of literature). Morais lucidly argues that art criticism, when referring to aesthetic properties, is referring not ultimately to the critic’s subjective reactions, but to genuine properties of the works. With a focus on contemporary discussion conducted in the analytic tradition, as well as on arguments by Hume and Kant, this book characterizes the debate in aesthetics and the philosophy of art concerning aesthetic realism, examining attacks on the objectivity of values, the ‘autonomy thesis’, and Hume’s sentimentalism. Considering and defusing scepticism concerning the significance of the ontological debate about aesthetic realism, Morais discusses two powerful attacks on aesthetic realism before defending the doctrine against them and providing a positive realist account of aesthetic properties.

Epistemology, the philosophy of knowledge, is at the core of many of the central debates and issues in philosophy, interrogating the notions of truth, objectivity, trust, belief and perception. The Routledge Companion to Epistemology provides a comprehensive and the up-to-date survey of epistemology, charting its history, providing a thorough account of its key thinkers and movements, and addressing enduring questions and contemporary research in the field. Organized thematically, the Companion is divided into ten sections: Foundational Issues, The Analysis of Knowledge, The Structure of Knowledge, Kinds of Knowledge, Skepticism, Responses to Skepticism, Knowledge and Knowledge Attributions, Formal Epistemology, The History of Epistemology, and Metaepistemological Issues. Seventy-eight chapters, each between 5000 and 7000 words and written by the world’s leading epistemologists, provide students with an outstanding and accessible guide to the field. Designed to fit the most comprehensive syllabus in the discipline, this text will be an indispensible resource for anyone interested in this central area of philosophy. The Routledge Companion to Epistemology is essential reading for students of philosophy.

Dominic McIver Lopes articulates and defends a 'buck passing theory of art', namely that a work of art is nothing but a work in one of the arts. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, he argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. Whereas these theories have reached a dialectical impasse wherein they reiterate, and cannot resolve, disagreement over the puzzle cases, the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts, the buck passing theory grounds our empirical inquiries into the arts as well as our practices of appreciation and art criticism. Lopes seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. He gives the specificity of each art form a central role in our appreciative endeavours, and yet he stresses the continuity of the arts with similar, non-art activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.