Joseph Margolis, known for his considerable contributions to the
philosophy of art and aesthetics, pragmatism, and American
philosophy, has focused primarily on the troublesome concepts of
culture, history, language, agency, art, interpretation, and the
human person or self. For Margolis, the signal problem has always
been the same: how can we distinguish between physical nature and
human culture? How do these realms relate?
"The Cultural Space of the Arts and the Infelicities of
Reductionism" identifies a conceptual tendency that can be drawn
from the work of the twentieth century's best-known analytic
philosophers of art: Arthur Danto, Richard Wollheim, Kendall
Walton, Nelson Goodman, Monroe Beardsley, No?l Carroll, and Jerrold
Levinson, among others. This trend threatens to impoverish our
grasp and appreciation of the arts by failing to do justice to the
culturally informed nature of the arts themselves. Through his
analysis, Margolis sets out to retrieve an adequate picture of the
essential differences between physical nature and human
culture--particularly through language, history, meaning,
significance, the emergence of the human self or person, and the
essential features of human life--all to explain how such
difference bears on our perception of paintings and literature.
Clearly argued and provocatively engaging, Margolis's work
reestablishes what is essential to a productive encounter with
art.
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