Notes on Contributors. Introduction: Aesthetics Today. Part I: The Core Issues:. 1. The Origins of Modern Aesthetics: 1711?35: Paul Guyer (University of Pennsylvania). 2. Defining Art: Intension and Extension: George Dickie (University of Illinois, Chicago). 3. Art and the Aesthetic: Marcia Muelder Eaton (University of Minnesota). 4. The Ontology of Art: Amie L. Thomasson (University of Miami). 5. Evaluating Art: Alan Goldman (College of William & Mary). 6. Interpretation in Aesthetics: Laurent Stern (Rutgers University). 7. Art and the Moral Realm: Noel Carroll (University of Wisconsin ? Madison). 8. Beauty and the Critic?s Judgment: Remapping Aesthetics: Mary Mothersill (Barnard College). 9. The Philosophy of Taste: Thoughts on the Idea: Ted Cohen (University of Chicago). 10. The Emotions in Art: Jenefer Robinson (University of Cincinnati). Part II: The Arts and Other Matters:. 11. The Philosophy of Literature: Pleasure Restored: Peter Lamarque (University of York) and Stein Haugom Olsen (Lingnan University). 12. The Philosophy of the Visual Arts: Perceiving Pictures: Joseph Margolis (Temple University). 13. The Philosophy of the Movies: Cinematic Narration: Berys Gaut (University of St. Andrews). 14. The Philosophy of Music: Formalism and Beyond: Philip Alperson (Temple University). 15. The Philosophy of Dance: Bodies in Motion, Bodies at Rest: Francis Sparshott (University of Toronto). 16. Tragedy: Susan Feagin (Temple University). 17. The Aesthetics of Nature and the Environment: Donald W. Crawford (University of California, Santa Barbara). 18. Art and the Aesthetic: The Religious Dimension: Nicholas Wolterstorff (Yale University). Index
Peter Kivy is Board of Governors professor of philosophy at Rutgers University and a past president of the American Society for Aesthetics. His most recent books are The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius (2001), New Essays on Musical Understanding (2001), and Introduction to a Philosophy of Music (2002).
"This volume vaults the reader immediately into the center of philosophical conversation about the arts. The high-caliber authors advance substantive positions on a very satisfying sweep of issues, and the resulting whole displays to advantage both the good sense and provocativeness of contemporary Anglo-American aesthetics." Eileen John, University of Louisville "From a volume of this kind one wants sharply focused essays on central themes, by fair-minded but opinionated experts. In a few pages they have to tell us how we got to where we are, and why it matters. This is not an easy specification to fill, but the success rate in The Blackwell Guide to Aesthetics is high." Gregory Currie, University of Nottingham
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