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Art as Human Practice: An Aesthetics
— —
Georg W. Bertram (Institute for Philosophy, Free University of Berlin, Germany) Nathan Ross (Oklahoma City University, USA)
Art as Human Practice: An Aesthetics by Georg W. Bertram (Institute for Philosophy, Free University of Berlin, Germany) at Abbey's Bookshop,

Art as Human Practice: An Aesthetics

Georg W. Bertram (Institute for Philosophy, Free University of Berlin, Germany) Nathan Ross (Oklahoma City University, USA)


9781350063150

Bloomsbury Academic


Theory of art;
Philosophy: aesthetics;
Social & political philosophy


Paperback

256 pages

$43.99
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How is art both distinct and different from the rest of human life, while also mattering in and for it? This central yet overlooked question in contemporary philosophy of art is at the heart of Georg Bertram's new aesthetic. Drawing on the resources of diverse philosophical traditions - analytic philosophy, French philosophy, and German post-Kantian philosophy - his book offers a systematic account of art as a human practice. One that remains connected to the whole of life.

By:   Georg W. Bertram (Institute for Philosophy Free University of Berlin Germany)
Translated by:   Nathan Ross (Oklahoma City University USA)
Imprint:   Bloomsbury Academic
Country of Publication:   United Kingdom
Dimensions:   Height: 216mm,  Width: 138mm, 
ISBN:   9781350063150
ISBN 10:   1350063150
Pages:   256
Publication Date:   January 2019
Audience:   College/higher education ,  Primary
Format:   Paperback
Publisher's Status:   Active

Introduction Chapter 1: A Critique of the Autonomy Paradigm Chapter 2: From Kant to Hegel and Beyond Chapter 3: Autonomy as Self-Referential Constitution: Art as Practical Reflection Chapter 4: Art as Practice of Freedom Bibliography Index

Georg W. Bertram is Professor of Philosophy and Aesthetics at the Freie Universitat Berlin, Germany. Nathan Ross is Associate Professor of Philosophy at Oklahoma State University, USA.


In his groundbreaking new book, Georg Bertram argues that human beings turn to artistic meaning-making precisely when they are foundering in practice or confused about how to find coherence and value in their practical lives--a recurring phenomenon within the disruptions of modernity. Audiences of artworks in turn participate imaginatively in the work's sensuous-formal exploration of new possibilities of sense. In this way, Bertram shows how art is neither a matter of entertainment alone nor theoretical insight alone, but instead urgently and intimately part of the ongoing, reciprocal self-constitution of subjects as bearers of stances within and on practices. There is no better account than this of how and why art matters. -- Richard Eldridge, Charles and Harriett Cox McDowell Professor of Philosophy, Swarthmore College, USA

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