Artistic Judgement

Preface.- Chapter One: The Artistic and The Aesthetic: A Distinction Considered. - 1.1 A crucial distinction.- 1.2 Transfiguration and artistic properties- 1.3 Some corollaries of the distinction.- 1.4 Contrasting views of the aesthetic.- 1.5 The artistic as sensuous?- 1.6 The 'ambiguity' of artistic properties.- 1.7 An example: the case of Marla.- 1.8 Exploring the contrast: methodology.- 1.9 Outline of this work.- 1.10 On not defining art.- Chapter Two: Art, Meaning and Occasion-Sensitivity.- 2.1 Meaning meaning.- 2.2 Exceptions (a): dealing with defeasibility.- 2.3 Exceptions (b): disambiguation?- 2.4 An occasion-sensitive view of meaning and understanding.- 2.5 Contextualism in philosophical aesthetics.- 2.6 Competent judges.- 2.7 Meaning, explaining, and artistic properties.- 2.8 Meaning, explanation and content.- 2.9 The context of philosophical aesthetics.- Chapter Three: Art and Life-Issues: Meeting Counter-Cases.- 3.1 Artistic value and life-issues.- 3.2 Life-issues connection to artworks?- 3.3 The importance of life-issues.- 3.4. Learning from art?- 3.5 Art and moral value: moderate moralism, ethicism.- 3.6 A seven-part strategy.- 3.7 Literary value and moral understanding: Nussbaum.- 3.8 A conflict between morality and art?- 3.9 Conclusion.- Chapter Four: Intention, Authorship and Artistic Realism.- 4.1 The intention of the artist.- 4.2 Excursus: Hypothetical intentionalism and its discontents.- 4.3 The embodiment of artistic meaning.- 4.4 Making meaning: the concept "art".- 4.5 Making sense: 'history of production'.- 4.6 Response-reliance and artistic properties.- 4.7 Understanding and criticism.- 4.8 Criticism and inference.- 4.9 The 'reality' of artistic properties.- Chapter Five: The Historical Character of Art.- 5.1 Precursors and the past.- 5.2 Art, change of meaning and standard historicism.- 5.3 Forward retroactivism, and the threat of misperception.- 5.4 Are these genuine properties?- 5.5 Reasons and 'new evidence'.- 5.6 Are these new

Graham McFee studied at the University of Keele, and at University College London (where he was supervised by Richard Wollheim). Having worked at the University of Brighton since 1974, he was inaugurated Professor of Philosophy there in 1995. Since 2004, he has divided his time between Brighton and California State University Fullerton. He was Vice President of the British Society for Aesthetics from 1999 to 2004. His main interests, outside aesthetics, lie in the philosophy of Wittgenstein and the philosophical study of sport.

From the reviews:"As its title promises, Artistic Judgment: A Framework for Philosophical Aesthetics develops a theoretical account of the nature of philosophical aesthetics, and, within that framework, addresses some important issues in the philosophy of art, all focally related to artistic judgement. ... in the present philosophical context, readers who are not sympathetic to Wittgensteinian approaches to aesthetics, as well as those who are, should read this extremely interesting book." (Thomas Adajian, British Journal of Aesthetics, Vol. 51 (4), October, 2011)