Shusterman's Pragmatist Aesthetics

Shusterman's Pragmatist Aesthetics J SP III San Jose State University I should admit from the start that I am deeply sympathetic to Shusterman's perspective. I, like Shusterman, consider myself a pragmatist committed to a critique of analytic aesthetics from a revived Deweyan perspective. I, too, favor Hegelian themes of holism, historicism, and organicism, but without Hegel's absolutism. I am also sympathetic to what Shusterman calls Dewey's somatic naturalism. Moreover, I agree that although there are no ahistorical positive essences, there are relative, historicized essences. Thus, most of what I will say is a matter of encouraging Shusterman to be consistent with his own pragmatist nature, and to give up certain remaining bonds to analytic aesthetics. I will leave discussion of Shusterman's theories of popular music to others. Following the tradition of analytic anti-essentialism, Shusterman critiques "the wrapper model" of the definition of art (Leddy 1998, 125­28), which holds that a good definition will give us necessary and sufficient conditions for "work of art." Shusterman raises good objections to Dickie's institutional definition of art and to Carroll's art-identifying strategy: the first fails to capture the evaluative dimension of art, and the second causes theory of art to collapse into art history. Shusterman http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Speculative Philosophy Penn State University Press

Shusterman's Pragmatist Aesthetics

The Journal of Speculative Philosophy, Volume 16 (1) – Jan 2, 2002

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Publisher
Penn State University Press
Copyright
Copyright © 2002 by the Pennsylvania State University.
ISSN
1527-9383
Publisher site
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Abstract

J SP III San Jose State University I should admit from the start that I am deeply sympathetic to Shusterman's perspective. I, like Shusterman, consider myself a pragmatist committed to a critique of analytic aesthetics from a revived Deweyan perspective. I, too, favor Hegelian themes of holism, historicism, and organicism, but without Hegel's absolutism. I am also sympathetic to what Shusterman calls Dewey's somatic naturalism. Moreover, I agree that although there are no ahistorical positive essences, there are relative, historicized essences. Thus, most of what I will say is a matter of encouraging Shusterman to be consistent with his own pragmatist nature, and to give up certain remaining bonds to analytic aesthetics. I will leave discussion of Shusterman's theories of popular music to others. Following the tradition of analytic anti-essentialism, Shusterman critiques "the wrapper model" of the definition of art (Leddy 1998, 125­28), which holds that a good definition will give us necessary and sufficient conditions for "work of art." Shusterman raises good objections to Dickie's institutional definition of art and to Carroll's art-identifying strategy: the first fails to capture the evaluative dimension of art, and the second causes theory of art to collapse into art history. Shusterman

Journal

The Journal of Speculative PhilosophyPenn State University Press

Published: Jan 2, 2002

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