Cover -- Contents -- Preface -- Acknowledgments -- I. Art and Aesthetics -- 1. The Nature and Limits of Analytic Aesthetics -- I. Introduction -- II. Conceptions of Philosophy -- III. The Nature of Analytic Aesthetics -- Postscript -- 2. The Invention of Modern Aesthetics: From Leibniz to Kant -- I -- II -- III -- IV -- 3. Notions of the Aesthetic and of Aesthetics -- I -- II -- III -- IV -- V -- VI -- VII -- VIII -- 4. Aesthetics, Philosophy of Culture, and "The Aesthetic Turn" -- I. Introduction -- II. The Aesthetic Field -- III. Aspects of Aestheticization -- IV. Shusterman Ethics and Aesthetics -- V. Welsch, Knowledge and Reality -- Concluding Remarks -- Postscript -- 5. The Distinction Between Aesthetics and the Sociology of Art: Remarks on Bourdieu's Critique of Aesthetics -- I -- II -- III -- 6. Understanding and Appreciating Art: The Relevance of Experience -- I -- II -- III -- IV -- V -- II. Music, Literature, and Painting -- 1. On Form and Content -- I. Introduction -- II. Form in Aesthetics -- II.1 Form in Literature -- II.2 Form in Painting -- II.3 Form and Music -- II.4 Form and Artistic Value -- III. Conclusion -- 2. Formalism in Music: Eduard Hanslick and Peter Kivy -- I. Introduction -- II. Hanslick's Argument -- III. Kivy's Semi-Hanslickian Theory -- 3. Susanne Langer on Representation and Emotion in Music -- I. Introduction -- II. Music as a symbol of emotive life -- III. Kivy, Levinson and the experienced listener -- 4. The Analogy between Ornament and Music -- I -- II -- III -- 5. Northern Light and Darkness in Music and Painting, or, the Artistic Expression of Cultural Identity -- I -- II -- III -- IV -- 6. Art, Literature and Value -- I. Introduction -- II. The Concept of Art -- II.1 The Generic Concept of Art -- II.2 Art as an Open Concept -- II.3 Art as an Institutional Concept -- II.4 Identifying Art.

III. The Concept of Literature -- III.1 The Meanings of "Literature" -- III.2 Defining Literature -- III.3 Literature as an Institutional Concept -- III.4 Literature and Value -- III. Heidegger and the Essence of Art -- 1. Heidegger's Van Gogh -- I. Introduction -- II. Things, Works and the Nature of Equipment -- III. Truth, Work and World -- IV. Conclusion -- 2. Being, Art, and Great Art -- I. Aesthetics and Art -- II. Heidegger's Conception of Art -- III. Van Gogh's Shoes -- IV. Great Art -- V. Being, the Question of Art and Politics -- Concluding Remarks -- IV. Modernity/Postmodernity and Culture -- 1. Postmodernism, History, and "The Linguistic Turn" -- I. Introduction -- II. Postmodern approaches to history -- III. Postmodernism and the limits of relativism -- 2. The Visible, the Invisible, and the Sublime: Reflexions on the Lyotardian Sublime -- I -- II -- 3. Scientism, Humanism, and the Humanities: The Challenge of Evolutionary Psychology -- I. Introduction -- II. The Programme of Sociobiology and Evolutionary Psychology -- III. Biological and Genetic Causation -- IV. Two Problems: Self-Reference and Explanatory Vacuity -- V. Altruism, Sex, Art and Memetics -- VI. Concluding Remarks -- Postscript -- Plates I-XIV -- Photo Credits -- Index of Names.