000			05832cam a2200385 i 4500
005			20221101193501.0
008			920101s1992 pau b 001 0 eng d
010			_a 91045429
011			_aBIB MATCHES WORLDCAT
020			_a0877229287 _qalk. paper
020			_a9780877229285 _qalk. paper
035			_a(ATU)b10710589
035			_a(OCoLC)25026560
040			_aDLC _beng _erda _cDLC _dOCL _dNLGGC _dBTCTA _dYDXCP _dBAKER _dBTN _dGEBAY _dATU
050	0	0	_aBH39 _b.N685 1992
082	0	0	_a700.1 _220
100	1		_aNovitz, David, _eauthor. _91031311
245	1	4	_aThe boundaries of art / _cDavid Novitz.
264		1	_aPhiladelphia : _bTemple University Press, _c1992.
300			_axii, 276 pages ; _c22 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references (pages 241-263) and index.
505	0	0	_tPreface -- _g1. _tThe State of the Arts: An Introduction -- _tConnections -- _tTwo Approaches -- _tStrategies -- _tArt and the Arts -- _tConclusion -- _g2. _tHigh and Popular Art: The Place of Art in Society -- _tHigh Art and Popular Art: The Distinction -- _tA Distinction in Context -- _tThe Politics of High and Popular Art -- _tThe Fall of High Art: Artistic versus Economic Value -- _tConclusion -- _g3. _tArt, Life, and Reality -- _tArt and Reality -- _t"Really," "Real," and "Reality" -- _tWilde and Wide of the Mark -- _tArt and Life -- _tConclusion -- _g4. _tThe Integrity of Aesthetics -- _tUrmson on Aesthetic Value -- _tAesthetic Concepts and Aesthetic Value -- _tValue and Reason -- _tAesthetic Values and Real Life -- _tAesthetic Value and Social Structures: A Conclusion -- _g5. _tArt, Narrative, and Human Nature -- _tLooking at Myself -- _tStories about Myself -- _tThe Nature and Politics of Narrative Identity -- _tNarrative, Norms, and Human Nature -- _tPersonhood and Arthood: A Conclusion -- _g6. _tKeeping Up Appearances -- _tGood Looks and Grooming -- _tImpressions of a Group -- _tAppearance across Cultures -- _tThe Beauty of the Group -- _tGetting It Wrong -- _tConclusion -- _g7. _tLove, Friendship, and the Aesthetics of Character -- _tPreliminaries -- _tConstructing a "Safety Net" -- _tOn Knowing One's Friends -- _tStructures of Affirmation -- _tLove and the Aesthetics of Self-Deception -- _tOn Truth and Beauty -- _tConclusion -- _g8. _tOf Drama, the Dramatic, and Everyday Life -- _tThe Place of Drama in Everyday Life -- _tSocial Scripting and Social Drama -- _tThe Content of Social Drama -- _tThe World and Katharsis -- _tSpeaking Theoretically: A Conclusion -- _g9. _tArt, Conflict, and Commitment -- _tWhat Is a Conflict? -- _tCommitment and Reason -- _tThe Scope of Commitment -- _tArt in a Changing World -- _tArt and Anaesthesia -- _tArt and Instability -- _g10. _tSeduction, Art, and Reason -- _tSeduction, Artifice, and Reason -- _tSeduction, the Individual, and Rorty -- _tThe Art of Politics and the Politics of Art -- _tPower and Art -- _tRorty, Reason, and Truth -- _tRedescriptions Redeemed: The End of the Textual Laager -- _tSentences and "Vocabularies" -- _tConclusion -- _g11. _tArt and Philosophy -- _tPhilosophy as Literature -- _tDecision Making in Philosophy -- _tForging the Canon -- _tMainstream Philosophy -- _tConclusion -- _tNotes -- _tIndex.
520	1		_a"In this provocative book, David Novitz reconsiders the complex relations between art and life. He rejects the view that artwork should be judged in isolation from its historical and cultural contexts, pointing to the many ways in which the cultural milieu affects choices made by the artist. He challenges the commonplace notion of art as something removed from daily life by invisible, yet rigid boundaries. Rather, Novitz argues, much art is unrecognized as such because it addresses issues and preoccupations of everyday life and is therefore viewed as "low brow" or merely popular. In fact, the author contends, not only does art invariably reflect our lives, but it often consciously attempts to influence our lives." "Popular genres like cinema, advertising, pop music, erotica, conversation, gardening, cooking, and carpentry are all seen as arts, and Novitz traces the differentiation of these from the so-called fine arts to the Renaissance, when moneyed classes patronized artists as a form of social self-promotion. This separation was reinforced in the nineteenth century, with the emergence of the aesthetic movement and its distinction between "high" art and the "popular" arts." "By providing a sustained and lively challenge to the traditional boundaries of art, Novitz demonstrates the detail and explains the extent of the integration of art into everyday life. He does not, however, endorse the postmodernist claim that there are no boundaries between art and life. Instead, he argues that our conception of the relations between art, life, and philosophy need to be rethought in a way that reflects more adequately the role that both art and philosophy play in our lives.".
520	8		_a"At its most powerful, Novitz argues, art is a form of seduction that can destabilize our commitments and entire world views, and does so in ways that are unavailable to rational persuasion. While carefully considering but rejecting Oscar Wilde's claim that "Life is in fact the mirror, and Art the reality," Novitz makes the case that art, properly conceived, reaches deeply into our lives and is profoundly influential."--BOOK JACKET.
588			_aMachine converted from AACR2 source record.
650		0	_aAesthetics _9313475
907			_a.b10710589 _b16-03-21 _c27-10-15
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