Young offers a systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Questions considered include: 'Can culture appropriation result in the production of aesthetically successful works of art?' and 'Is cultural appropriation in the arts morally objectionable?'.
Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by...
Now, for the first time, a philosopher undertakes a systematic investigation of the moral and aesthetic issues to which cultural appropriation gives rise. Cultural appropriation is a pervasive feature of the contemporary world (the Parthenon Marbles remain in London; white musicians from Bix Beiderbeck to Eric Clapton have appropriated musical styles from African-American culture) Young offers the first systematic philosophical investigation of the moral and aesthetic issues to which cultural appropriation gives rise Tackles head on the thorny issues arising from the clash and integration of cultures and their artifacts Questions considered include: “Can cultural appropriation result in the production of aesthetically successful works of art?” and “Is cultural appropriation in the arts morally objectionable?” Part of the highly regarded New Directions in Aesthetics series
Through a combination of empirical research and philosophical analysis in essays by leading experts in the social sciences, this book undertakes a comprehensive and systematic investigation of the moral and aesthetic questions that arise from the practice of cultural appropriation.
Why do we value music? Many people report that listening to music is one of life's most rewarding activities. In Critique of Pure Music, James O. Young seeks to explain why this is so. He rejects the formalist view--which tell us that music is appreciated as pure, contentless form--and draws on the latest psychological research to argue that music is expressive of emotion by resembling human expressive behaviour. The representation of emotion in musicgives music the capacity to provide psychological insight-into emotional lives of composers, and the emotional lives of individuals from a variety of times and places. It is this capacity of music to provide psychological insight which explains a good deal of the value of music--both vocal, and purelyinstrumental. Without it, music could not be experienced as profound.
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The Fine Arts Reduced to a Single Principle (1746) by Charles Batteux was arguably the most influential work on aesthetics published in the eighteenth century. It influenced every major aesthetician in the second half of the century: Diderot, Herder, Hume, Kant, Lessing, Mendelssohn, and others either adopted his views or reacted against them. It is the work generally credited with establishing the modern system of the arts: poetry, painting, music, sculpture and dance. Batteux's book is also an invaluable aid to the interpretation of the arts of eighteenth century. And yet there has never been a complete or reliable translation of The Fine Arts into English. Now James O. Young, a leading co...