000			04019namna2200349Mi 4500
008			170517s2017 xx b 001 0 eng d
020			_a0198801343
020			_a9780198801344
040			_cAE-ShPAA
040			_aAE-ShPAA _beng _cAE-ShPAA _dUKTTE _dK6U _dOCLCF _dOCLCO _dUKMGB _dOCLCQ
050		4	_aNX180.S6 _b.W65 2017
082	0	4	_a700.103 _223
100	1		_aWOLTERSTORFF, NICHOLAS. _919212
245	1	0	_aART RETHOUGHT : _bthe social practices of art.
260			_a[Place of publication not identified] _bOXFORD UNIV Press, _c2017.
300			_axvi, 331 pages ; _c23 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
501			_aP.B
504			_aIncludes bibliographical references and index.
505	0		_aPart one : The grand narrative of art in the modern world -- The Early Modern revolution in the arts -- Why the revolution? -- The grand narrative and the grand narrative theses -- Wherein lies the worth of disinterested attention? -- Art, religion, and the grand narrative -- Part two : Why the grand narrative has to go -- The inapplicability of the grand narrative to recent art -- Why the grand narrative never was tenable -- Part three : A new framework for thinking about the arts -- The arts as social practices -- Meaning of works of the arts and of artworks -- Part four : Memorial art -- The social practices of memorial art -- The memorial meaning of the mural art of Belfast -- Part five : Art for veneration -- The social practices of art for veneration -- Part six : Social protest art -- The social practices of social protest art -- The social protest meaning of Uncle Tom's Cabin -- The social protest meaning of the graphic art of Käthe Kollwitz -- Part seven : Art that enhances -- Work songs : social practice and meaning -- Part eight : The art-reflexive art of today's art world -- The social practices of art-reflexive art -- Art-reflexive meaning in the work of Sherrie Levine -- Part nine : Epilogue : good works and just practices -- What happened to beauty? -- The pursuit of justice and the social practices of art.
520			_aHuman beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. In the first part of the book Nicholas Wolterstorff asks why philosophers have concentrated on just this one mode of engagement. The answer he proposes is that almost all philosophers have accepted what the author calls the grand narrative concerning art in the modern world. It is generally agreed that in the early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff argues that the grand narrative has to be rejected as not fitting the facts. Wolterstorff then offers an alternative framework for thinking about the arts. Central to the alternative framework that he proposes are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. He goes on to use this framework to analyse in some detail five distinct social practices of art and the meaning that works have within those practices: the practice of memorial art, of art for veneration, of social protest art, of works songs, and of recent art-reflexive art.
650		0	_aAesthetics _xPhilosophy _919213
650		0	_aArt _xSociological aspects _919214
650		0	_aArts and society _913929
650		7	_aAesthetics _xPhilosophy _919215
650		7	_aArt _xSociological aspects _919216
650		7	_aArts and society _913929
910			_aAE-Shpaa29
942			_cBK
999			_c1610 _d1610