Ali Akbar Ahmadi Aframjani; Ahmad Rahmanian
Abstract
This paper examines Nelson Goodman’s position on the ontological problem of value of art, in other words, the question of ‘what kind is the relation between valuable feature(s) of artworks to them, in Goodman’s aesthetic cognitivism. In the first place, by examining several issues ...
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This paper examines Nelson Goodman’s position on the ontological problem of value of art, in other words, the question of ‘what kind is the relation between valuable feature(s) of artworks to them, in Goodman’s aesthetic cognitivism. In the first place, by examining several issues about (1) the types of the relations between valuable feature of an object to it, (2) the types of the relations between valuable feature of a work to it, and (3) Goodman’s position on the normative problem of value of art, provides the rudiments to solve the above question. In the next place, it suggests that although Goodman is a cognitivist, in the normative issue of value of art, and cognitivism is an anti-essentialism position, it is not that his anti-essentialism is entirely consistent with cognitivists’ anti-essentialism. Goodman and cognitivists are partners in the beliefs that cognitive value attributed to art is (1) plural and (2) is not unique to art. But, do not share the biliefs that (3) the value is common in all works of art and (4) the relation between the value to artworks is intrinsic. However, he does not violate anti-essentialism, although 3 and 4 makes him close to essentialism, Because Goodman’s common cognitive value is not unique to works of art.
Soheila mansourian; amir nasri
Abstract
In Baudrillard’s view, the post-modern approach - with the dominance of codes, signs and replacing production with consumption in people’s daily life - has started a new process, which has not only resulted in the failure of contemporary man’s motto of individuality and developing opportunities ...
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In Baudrillard’s view, the post-modern approach - with the dominance of codes, signs and replacing production with consumption in people’s daily life - has started a new process, which has not only resulted in the failure of contemporary man’s motto of individuality and developing opportunities for presenting his demands, but also, in this atmosphere, which is saturated with signs from media; art, politics, religion and economics, as separate and concrete areas, have lost their outer reality and have disappeared in the horizon of media’s dominance together with the concept of subject. According to Baudrillard, this approach is in the shape of game and is made up of general concept of art. With this difference, that art is no longer defined as a realm separate from politics, religion and economics, art is, in a general sense, transmuted into a style and method, in light of which, ugly and beautiful, good and bad, right and wrong are departed from their references (authorities) such as ethics, religion, economics and work of art and pass out in the end of the route together with the concept of subject.
