PHILIP ALPERSON and NOËL CARROLL I. Introduction If like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in order to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog. One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A." This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek.
The Journal of Aesthetic Education – University of Illinois Press
Published: Feb 14, 2008
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