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On Criticism (Thinking in Action) ペーパーバック – 2008/10/14
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In a recent poll of practicing art critics, 75 percent reported that rendering judgments on artworks was the least significant aspect of their job. This is a troubling statistic for philosopher and critic Noel Carroll, who argues that that the proper task of the critic is not simply to describe, or to uncover hidden meanings or agendas, but instead to determine what is of value in art.
Carroll argues for a humanistic conception of criticism which focuses on what the artist has achieved by creating or performing the work. Whilst a good critic should not neglect to contextualize and offer interpretations of a work of art, he argues that too much recent criticism has ignored the fundamental role of the artist's intentions.
Including examples from visual, performance and literary arts, and the work of contemporary critics, Carroll provides a charming, erudite and persuasive argument that evaluation of art is an indispensable part of the conversation of life.
- 本の長さ224ページ
- 言語英語
- 出版社Routledge
- 発売日2008/10/14
- 寸法12.7 x 1 x 19.7 cm
- ISBN-100415396212
- ISBN-13978-0415396219
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レビュー
"Carroll's extended essay is sensible, nuanced, informative, engaging and a good read for anybody who would like to think more clearly. Summing up: highly recommended." - Choice
'This book is badly needed, as much by critics as those who read them, as much by teachers of criticism as those who would like to write criticism.'
- Arthur C. Danto, Art Critic, The Nation
'This little book runs directly counter to the modern orthodoxy that proper art criticism is all about interpretation and contextualizing. With admirable clarity and disarming candor, it defends the unfashionable view that the heart of art criticism is giving reasoned evaluations of artistic achievement. Everything else passing under this label -- from gender theory to Derridean deconstruction -- is secondary. What makes the book specially persuasive is Noel Carroll's unrivalled expertise in all things aesthetic.'
- Gordon Graham, Princeton University, USA
著者について
Noël Carroll is Distinguished Professor of Philosophy at the CUNY Graduate Center. He is the author of a number of books on aesthetics and philosophy, including The Philosophy of Horror and The Philosophy of Art.
登録情報
- 出版社 : Routledge; 第1版 (2008/10/14)
- 発売日 : 2008/10/14
- 言語 : 英語
- ペーパーバック : 224ページ
- ISBN-10 : 0415396212
- ISBN-13 : 978-0415396219
- 寸法 : 12.7 x 1 x 19.7 cm
- Amazon 売れ筋ランキング: - 671,937位洋書 (洋書の売れ筋ランキングを見る)
- - 988位Philosophy Aesthetics
- - 27,017位Nonfiction Philosophy
- - 62,292位Arts & Photography (洋書)
- カスタマーレビュー:
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Carroll discusses several viewpoints on what constitutes criticism and presents his own which is mostly centered around the two notions of the critic evaluating a work and objectively measuring it in view of it's underlying artistic intention. I personally found the latter part to be very interesting - Carroll especially disagrees with the sentiment that the intention behind a work of art is inaccessible for a viewing/reading/listening audience, since it almost always could supposedly be drawn from the broader context in which a work is presented. Judging a work "on it's own merits" could potentially lead to the circular problem of every artwork succeeding in being itself by virtue of simply being itself. It would make criticism pointless. But that's where the evaluation is relevant. It's not about strengthening conventionalism but rather about placing a work of art in a broader context to understand it's meaning in contrast to other works.
You can't criticize an apple for being a bad orange. But you can put the apple in context with an orange if you compare their tastes and evaluate what they could mean for the person eating them.
Noel Carroll divided art criticism into seven parts. The main goal is evaluation. According to Carroll, if the art critic doesn't evaluate art, then the art critic isn't really an art critic. Nevertheless the critic has other goals in order to do evaluation. Firstly, the critic evaluates. Second is classification. The critic should describe the art. Third is classification. For example, some painting fits with a historical period--Baroque, Modern Art, and so on. Fourth is contextualization. The critic finds and explains the context. For instance, why was this artwork made? When? Et cetera.
As for the final categories, there's elucidation, interpretation, and analysis. Fifth is elucidation. When the art critic elucidates, she explains the words and symbols in the art. Sixth is interpretation. The critic explains the art's meaning. Seventh is analysis. Here the art critic compares the parts of the work of art to its whole.