Background
Danto, Arthur Coleman was born on January 1, 1924 in Ann Arbor, Michigan, United States. Son of Samuel Budd and Sylvia (Gittleman) Danto.
(A central theme of this book is that the main problems of...)
A central theme of this book is that the main problems of philosophy and certainly the main traditional problems in the theory of knowledge, concern the space between language and the world. Professor Danto distinguishes between descriptive concepts, concerned with saying how the world is and semantic concepts, which have to do with the application of descriptions of the world. Failure to make these distinctions is responsible for a class of seemingly irresolvable disputes over the foundations of knowledge; but when the distinction is appreciated, a plausible philosophical theory of what it is to know the world can be framed which is free from the standard scepticisms.
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(The crusade which conquered Mediterranean Spain in the th...)
The crusade which conquered Mediterranean Spain in the thirteenth century resulted in the domination by an alien Christian minority of a dissident Muslim majority and an unusually large Jewish population. Professor Burns' research into previously untapped archival sources reveals the tensions and interaction between the three religious societies after the crusade. A principal source for the author's research has been the revolutionary paper registers of King Jaume the Conqueror. These abundant and neglected documents shed new light on Jaume's pluri-ethnic kingdom during its first generation of settlement. The chapters, each a pioneering work for its topic, are radically different in subject and in approach, and yet concern the same theme, the symbiosis of cultures in the redeveloping kingdom, and the same time-span, the reigns of Jaume the Conqueror and his son, Pere the Great.
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( Few philosophers are as widely read or as widely misund...)
Few philosophers are as widely read or as widely misunderstood as Friedrich Nietzsche. When Danto's classic study was first published in 1965, many regarded Nietzsche as a brilliant but somewhat erratic thinker. Danto, however, presented a radically different picture, arguing that Nietzsche offered a systematic and coherent philosophy that anticipated many of the questions that define contemporary philosophy. Danto's clear and insightful commentaries helped canonize Nietzsche as a philosopher and continue to illuminate subtleties in Nietzsche's work as well as his immense contributions to the philosophies of science, language, and logic. This new edition, which includes five additional essays, not only further enhances our understanding of Nietzsche's philosophy; it responds to the misunderstandings that continue to muddy his intellectual reputation. Even today, Nietzsche is seen as everything from a precursor of feminism and deconstruction to a prophetic writer and spokesperson for disgruntled teenage boys. As Danto points out in his preface, Nietzsche's writings have purportedly inspired recent acts of violence and school shootings. Danto counters these misreadings by elaborating an anti-Nietzschian philosophy from within Nietzsche's own philosophy "in the hope of disarming the rabid Nietzsche and neutralizing the vivid frightening images that have inspired sociopaths for over a century." The essays also consider specific works by Nietzsche, including Human, All Too Human and The Genealogy of Morals, as well as the philosopher's artistic metaphysics and semantical nihilism.
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(A study of the philosophical problems associated with the...)
A study of the philosophical problems associated with the concept of action. Professor Danto is concerned to isolate logically the notion of a 'basic action' and to examine the way in which context and intention, for example, can convert physiological movements into significant actions. He finds many suggestive parallels between the concepts - the logical architecture - of action and cognition and in developing this theme he becomes involved in and proposes new approaches to various long-standing problems connected with causality, determinism and materialism. As in his earlier books, Analytical Philosophy of History and Analytical Philosophy of Knowledge, Professor Danto places the discussion in a broad historical and philosophical perspective and brings to it a wide reading and an unusual range of interests. He is always prepared to venture novel ideas to stimulate further debate and research and the book as a whole is presented as an original contribution to a subject which is attracting increasing attention from philosophers and from psychologists with an interest in the conceptual assumptions behind their work.
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(The East is no longer remote. Events there penetrate our ...)
The East is no longer remote. Events there penetrate our consciousness in a new way, and Oriental thought now exerts a stronger fascination for Western minds than ever before. As more and more westerners travel to the East, there is an increasing body of literature to help them understand these almost legendary cultures. Mysticism and Morality stands alone from the rest, for it is one book written by a distinguished analytical philosopher who is sympathetic to, but skeptical of, the ancient and powerful ideas which constitute the philosophical perspective of Eastern peoples. This lucid examination of the relationship between Eastern thought and Western morality presents the tenants of Buddhism, Hinduism and Taoism to support the argument that the concept of the individual is radically different in both cultures.
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( Mr. Danto argues that recent developments in the artwo...)
Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections that hold between art and social institutions and art history. The book distinguishes what belongs to artistic theory from what has traditionally been confused with it, namely aesthetic theory and offers as well a systematic account of metaphor, expression, and style, together with an original account of artistic representation. A wealth of examples, drawn especially from recent and contemporary art, illuminate the argument.
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(Desde su aparición en 1981, La transfiguración del lugar ...)
Desde su aparición en 1981, La transfiguración del lugar común se ha convertido en referencia obligada de la reflexión filosófica sobre el arte moderno. Danto responde con brillantez a la ya clásica pregunta "¿Cuándo se produce el arte?". Para despejar las incógnitas que de aquà se derivan, propone la metáfora del lugar común y su paradójica aplicación al arte: ¿por qué los objetos más banales quedan transfigurados al ser convertidos en obra de arte? ¿En qué se diferencian a pesar de ser materialmente indiscernibles? ¿Qué estrategia utiliza el arte de hoy para lograr estos fines? En respuesta a estas cuestiones, Danto relativiza el juicio subjetivo del gusto y nos invita a participar en los juegos de lenguaje y los ámbitos institucionales propios del arte moderno. De ellos toma toda su fuerza para abrir la posibilidad de nuevos significados en esta época de agotamiento. La interpretación artÃstica puede que ya no vuelva a ser una tarea espontánea o cómoda, pero sà se revelará imprescindible a la hora de restituir el peculiar y enorme valor cognitivo de la experiencia estética.
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(Mr. Danto argues that recent developments in the artworld...)
Mr. Danto argues that recent developments in the artworld, in particular the production of works of art that cannot be told from ordinary things, make urgent the need for a new theory of art and make plain the factors such a theory can and cannot involve. In the course of constructing such a theory, he seeks to demonstrate the relationship between philosophy and art, as well as the connections tha...
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( Now in its third edition, Narration and Knowledge is a ...)
Now in its third edition, Narration and Knowledge is a classic work exploring the nature of historical knowledge and its reliance on narrative. Analytical philosopher Arthur C. Danto introduces the concept of "narrative sentences," in which an event is described with reference to later events (for example, "the Thirty Years' War began in 1618") and discusses why such sentences cannot be understood until the later event happens (no one could have said in 1618 that "the Thirty Years' War began today"). Danto compares narrative and scientific explanation and explores the legitimacy of historical laws. He also argues that history is an autonomous and humanist discipline incapable of being reduced to scientific descriptions. Lydia Goehr's new introduction illustrates Danto's main arguments by questioning her very role, first, as an introducer of a book that has not yet been read by readers and, second, as an interpreter of a book written forty years ago. Frank Ankersmit's conclusion revisits the initial impact of the publication of Narration and Knowledge and considers its enduring legacy.
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(Arthur C. Danto is professor emeritus of philosophy at Co...)
Arthur C. Danto is professor emeritus of philosophy at Columbia University. He is the art critic for the Nation and has served as president of the American Philosophical Association.
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( Arthur Danto's assessment of the achievement of Robert ...)
Arthur Danto's assessment of the achievement of Robert Mapplethorpe is a lucid and graceful introduction to a controversial artist by the most distinguished philosophical critic of the arts in our time. While fully addressing the most public dimensions of Mapplethorpe's career—the branding of his work as pornography and the legal and censorship issues that surround the exhibition of his photographs—Danto's essay breaks with common responses by offering a fascinating and deeply sympathetic account of Mapplethorpe's aesthetics. In Playing with the Edge, Arthur Danto returns the discussion of Mapplethorpe to a consideration of his artistic legacy. He refuses to retreat from the sexual content of Mapplethorpe's images, claiming that the content and the artistic character of the photographs simultaneously invite and deflect the charges of pornography and together define the importance of Mapplethorpe's work. Danto discerns the images' uniqueness in the relation of trust between the photographer and his subjects. Through a fascinating exploration of the relation of Mapplethorpe's images to those of other artists (Titian, Sherman, Winogrand, Cartier-Bresson, Golub) Danto presents a compelling argument for Mapplethorpe's enduring position in the history of art, no less than the history of our times. FROM THE BOOK:"There is a tension at the heart of Robert Mapplethorpe's art, verging on paradox, between its most distinctive content and its most distinctive mode of presentation. The content of the work is often sufficiently erotic to be considered pornographic, even by the artist, while the aesthetic of its presentation is chastely classic—it is Dionysiac and Apollonian at once. The content cannot have been a serious possibility for a major artist at any previous moment in history. It is particular to America in the 1970s, a decade Mapplethorpe exemplifies in terms of his values, his sensibilities, and his attitudes."
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( Arthur Danto's work has always affirmed a deep relation...)
Arthur Danto's work has always affirmed a deep relationship between philosophy and art. These essays explore this relationship through a number of concrete cases in which either artists are driven by philosophical agendas or their art is seen as solving philosophical problems in visual terms. The essays cover a varied terrain, with subjects including Giotto's use of olfactory data in The Raising of Lazarus; chairs in art and chairs as art; Mel Bochner's Wittgenstein drawings; the work of Robert Motherwell, Andy Warhol, and Robert Irwin; Louis Kahn as "Archai-Tekt"; and visual truth in film. Also featured are a meditation on the battle of Gettysburg; and a celebration of the Japanese artist Shiko Munakata, an essay that is partly autobiographical. Arthur C. Danto is one of the most original and multitalented philosophers writing today, a thinker whose interests traverse the boundaries of traditional understandings of philosophy. Best known for his contributions to the philosophy of art and aesthetics, Danto is also esteemed for his work in the history of philosophy, the philosophy of history, philosophical psychology, and action theory. These two volumes, each with an introduction by the author, contain essays spanning more than twenty-five years that have been selected to highlight the inseparability of philosophy and art in Danto's work. Together they present the thinking of Arthur C. Danto at his very best.
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( The Madonna of the Future finds Danto at the point wher...)
The Madonna of the Future finds Danto at the point where all the vectors of the art world intersect: those of traditional painting, Pop art, mixed media, and installation art; those of art and philosophy; those of the specialist who brings theory to bear on the work and the viewer who appreciates it primarily visually.
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(os ensayos sobre arte de Arthur C. Danto, a la vez elegan...)
os ensayos sobre arte de Arthur C. Danto, a la vez elegantes y revolucionarios, son la mejor radiografÃa posible sobre el discurrir de las artes visuales en el mundo de hoy. Y en La madonna del futuro, Danto lleva al lector a la encrucijada en la que coinciden todos los vectores del arte contemporáneo: la pintura tradicional, el pop art, la mezcla de géneros y las instalaciones; las relaciones entre el arte y la filosofÃa; los especialistas que aterrizan en ese mundo bien provistos de teorÃas y los aficionados que sólo confÃan en su propia mirada... En sus comentarios, Danto se centra indistintamente en la obra de los maestros del pasado (Vermeer, Tiepolo), en los grandes pintores de la modernidad (DalÃ, De Kooning, Kline, Rothko, Johns) y en los descendientes de Andy Warhol que aún dominan la escena neoyorquina. Si Nietzsche tituló uno de sus ensayos "Cómo se filosofa a martillazos", estos ensayos de Danto son una verdadera lección sobre cómo ejercer la crÃtica de arte con una pluma, es decir, con respeto y consideración no sólo hacia los artistas, sino también hacia la propia naturaleza del arte en general.
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( Danto simply and entertainingly traces the evolution of...)
Danto simply and entertainingly traces the evolution of the concept of beauty over the past century and explores how it was removed from the definition of art. Beauty then came to be regarded as a serious aesthetic crime, whereas a hundred years ago it was almost unanimously considered the supreme purpose of art. Beauty is not, and should not be, the be-all and end-all of art, but it has an important place, and is not something to be avoided. Danto draws eruditely upon the thoughts of artists and critics such as Rimbaud, Fry, Matisse, the Dadaists, Duchamp, and Greenberg, as well as on that of philosophers like Hume, Kant, and Hegel. Danto agrees with the dethroning of beauty as the essence of art, and maintains with telling examples that most art is not, in fact, beautiful. He argues, however, for the partial rehabilitation of beauty and the removal of any critical taboo against beauty. Beauty is one among the many modes through which thoughts are presented to human sensibility in art: disgust, horror, sublimity, and sexuality being among other such modes.
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( An Incisive Account of the Bizarre, Often Bewildering A...)
An Incisive Account of the Bizarre, Often Bewildering Art World of Today Arthur Danto's new collection finds him, and the art world, at a point when the art world has become pluralistic, even chaotic-with one medium as good as the next-when the moment for "next things" has passed. Since 1984, when Danto-already an eminent philosopher--became The Nation's art critic, he has been one of the foremost theorists of contemporary art's history and evolution, and at the same time the most incisive and illuminating critic of new work. In his view, the historical development of art reached a kind of zenith in the pop period, most famously with Warhol's Brillo Boxes. Danto's five volumes of review essays (all published by FSG) form a kind of chronicle of the art world since the Brillo moment, and a running appraisal of the great variety of significant work made since then. In this new book, he shows how work that bridges the gap between art and life is now the definitive work of our time: Damien Hirst's arrays of skeletons and anatomical models, Barbara Kruger's tchotchke-ready slogans, Renee Cox's nude portrait of herself at the Last Supper. To the obvious question--is this stuff really art?--Danto replies with an enthusiastic yes, explaining, with a philosopher's clarity and an art lover's sense of delight, how these "unnatural wonders" show us who we are.
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(Argues that aesthetic considerations no longer play a cen...)
Argues that aesthetic considerations no longer play a central role in the experience and critique of art. Instead art addresses us in our humanity, as men and women who seek meaning in the "unnatural wonders" of art, a meaning that philosophy and religion are unable to provide.
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( "With skill and discernment Danto reveals the important...)
"With skill and discernment Danto reveals the important strands of Nietzsche's wildly tangled skein and weaves them into a pattern." -- New York Times Book Review
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(Includes essays that explore the relationship between phi...)
Includes essays that explore the relationship between philosophy and art through a number of cases in which either artists are driven by philosophical agendas or their art is seen as solving philosophical problems in visual terms.
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(In this major new reading of Sartre’s life and work, Paig...)
In this major new reading of Sartre’s life and work, Paige Arthur traces the relationship between the philosopher’s decades-long commitment to decolonization and his intellectual positions. Where other commentators have focused on the tensions between Sartre’s Marxism and his account of existential freedom, usually to denigrate one in favor of the other, Arthur shows how Sartre’s political engagement with global liberation movements and his philosophical framework developed alongside one another. Closely following the postwar movements for decolonization, and then supporting the war of independence in Algeria, Sartre proposed an influential and uncompromising view of imperialism. Analyzing the Western attitude to the ‘subhuman’ colonial subject, he offered an account of the social constraints that applied to both ruler and ruled, and came to argue that political violence—on both sides—was a systematic consequence of the colonial order. Arthur’s rich and nuanced book locates Sartre within the political discussions of his time, whilst also looking forward to contemporary debates about new forms of imperialism and resistance.
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(Draws on the whole corpus of Nietzsche's works and partic...)
Draws on the whole corpus of Nietzsche's works and particularly on the Nachlass, the unpublished notes, to establish that Nietzsche's philosophical concerns were the traditional ones and his theories and solutions anticipated subjects under debate currently.
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(Few philosophers are as widely read or as widely misunder...)
Few philosophers are as widely read or as widely misunderstood as Friedrich Nietzsche. This book includes five essays which not only enhances our understanding of Nietzsche's philosophy but also it responds to the misunderstandings that continue to muddy his intellectual reputation.
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art critic Analytic philosopher
Danto, Arthur Coleman was born on January 1, 1924 in Ann Arbor, Michigan, United States. Son of Samuel Budd and Sylvia (Gittleman) Danto.
Bachelor, Wayne State University, 1948. Master of Arts, Columbia University, 1949. Doctor of Philosophy, Columbia University, 1952.
Postgraduate, University Paris, 1950. Doctor (honorary), Parsons School Design, 1990. Doctor (honorary), School Visual Arts, 1995.
Doctor (honorary), Pennsylvania Academy Fine Arts, 1996. Doctor (honorary), Connecticut College, 1997. Doctor (honorary), Wayne State University, 1999.
Doctor (honorary), College Art & Design, Detroit, 2001. Doctor (honorary), Massachusetts College Art, 2002. Doctor of Letters, Columbia University, 2004.
Doctor of Philosophy in History, University Turane, Italy, 2007.
Instructor University Colorado, Colorado, 1950-1951. Member faculty Columbia University, since 1952, Johnsonian professor philosophy, 1975-1992, chairman department, 1979-1987, co-director Center for Study of Human Rights, 1978-1992. Professor emeritus, 1992.
Andrew W. Mellon Fine Arts lecturer, 1995. Albertus Magnum professor University Cologne, 2005. With United States Army, 1942-1945, N. Africa, Italy.
( The Madonna of the Future finds Danto at the point wher...)
( An Incisive Account of the Bizarre, Often Bewildering A...)
(Draws on the whole corpus of Nietzsche's works and partic...)
(Includes essays that explore the relationship between phi...)
(The crusade which conquered Mediterranean Spain in the th...)
( Arthur Danto's assessment of the achievement of Robert ...)
(A central theme of this book is that the main problems of...)
(In this major new reading of Sartre’s life and work, Paig...)
( Danto simply and entertainingly traces the evolution of...)
(Desde su aparición en 1981, La transfiguración del lugar ...)
( Now in its third edition, Narration and Knowledge is a ...)
( "With skill and discernment Danto reveals the important...)
(Argues that aesthetic considerations no longer play a cen...)
( Arthur Danto's work has always affirmed a deep relation...)
( Few philosophers are as widely read or as widely misund...)
(Few philosophers are as widely read or as widely misunder...)
(A study of the philosophical problems associated with the...)
(os ensayos sobre arte de Arthur C. Danto, a la vez elegan...)
(-- "Philosophy and Literature")
(The East is no longer remote. Events there penetrate our ...)
(Book by Danto, Arthur C.)
(Book by Danto, Arthur C.)
(Book by Danto, Arthur C.)
(Arthur C. Danto is professor emeritus of philosophy at Co...)
(Revised)
( Mr. Danto argues that recent developments in the artwo...)
(Mr. Danto argues that recent developments in the artworld...)
Author: Analytical Philosophy of Knowledge, 1968, What Philosophy Is, 1968, Analytical Philosophy of History, 1965, Nietzsche as Philosopher, 1965, Analytical Philosophy of Action, 1973, Mysticism and Morality, 1972, Jean-Paul Sartre, 1975, The Transfiguration of the Commonplace, 1981 (Lionel Trilling Book prize 1982), Narration and Knowledge, 1985, The Philosophical Disenfranchisement of Art, 1986, The State of the Art, 1987, Connections to the World, 1989, Encounters and Reflections: Art in the History Present, 1990 (National Book Critics Circle Prize for Criticism, 1990), Beyond the Brillo Box: Art in the Post History Period, 1992, Mark Tansey: Visions and Revisions, 1992, Robert Mapplethorpe, 1992, Embodied Meanings: Critical Essays and Aesthetic Meditations, 1994, Playing with the Edge: The Photographic Achievement of Robert Mapplethorpe, After the End of Art: Contemporary Art and the Pale of History, 1997 (Eugene Kayden prize 1997), The Body/Body Problem, 1999, Philosophizing Art, 1999, The Madonna of the Future, 2000, The Abuse of Beauty: Aesthetics and the Concept of Art, 2003, Unnatural Wonders: Essays in the Gap Between Art and Life, 2004, Andy Warhal, 2009. Editor Journal Philosophy, since 1965, president, since 1987. Art critic The Nation, since 1984.
Contributing editor ARTFORUM. Consultant editor for various other publications.
Danto has extended the methods of analytic philosophy into areas often neglected by the Anglo-American tradition, such as the philosophies of Nietzsche and Sartre, mysticism and history. It is in the theory of art that his most original and influential work is to be found. In his seminal paper ‘The artworld’, he declared: ‘To see something as art requires something the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld'.
That is to say, works of art, such as, Warhol’s Brillo Boxes are distinguished from their materially indiscernible counterparts, ordinary Brillo boxes, by the interpretations which constitute them as artworks. Danto has continued to deepen and refine this insight through his prolific writing in philosophy and art criticism. Inspired by his reading of Hegel, he articulates a philosophy of the history of art according to which art, through Progressive consciousness of its own nature, transforms itself into philosophy and comes to an end.
Danto’s theory of art has been criticized for misrepresenting the art/non-art distinction as an ontological distinction. Confusing cultural knowledge presupposed in the recognition of artworks with interpretations involved in the appreciation of particular works, as well as with theories concerning the nature of art. And ■nflating parochial features of modernism into a definition of art at the expense of attention to the complexities of artistic practices.
Board directors Amnesty International, 1970-1975, general secretary, 1973. Served with Army of the United States, 1942-1945. Fellow American Association for the Advancement of Science.
Member American Philosophical Association (vice president 1969, president 1983), American Society Aesthetics (vice president 1987, president 1989), College Art Association (Frank Jewett Mather prize for criticism).
Married Shirley Rovetch, August 9, 1946 (deceased July 1978). Children: Elizabeth, Jane. Married Barbara Westman, February 15, 1980.