Topics for Quiz #2

Quiz #2 Topics (also add a couple of statements from quiz #1 material)

Art and Morality

I. Interaction between artistic and moral value

What is the basic thesis of anti-interactionism? How do radical autonomism and moderate autonomism differ? What is the basic thesis of interactionism? What is the "emotional uptake argument" of moderate moralism? What criticisms can we raise of moderate moralism? (Uptake despite flaw) What is the central thesis of ethicism? How might we critique ethicism? (Circularity?; non-ethical nature of imaginary objects?) What is the basic thesis of immoralism (along with any potential critiques)? (Cog. Immoral. --Merely apparent immorality?) Art and moral knowledge: can art inform or shape our moral outlook? On what bases do anti-interactionists reject the claim that art can teach us anything about morality? How does Nussbaum (an interactionist/moderate moralist) reply?

Art and Emotion

What are the 3 ways art can express emotion? What is the relation between expressivism and lyricism Why did Tolstoy replace beauty and pleasure with expression in defining art? What are the 4 assumptions underlying Tolstoy's theory? How did Collingwood's theory differ from Tolstoy's? What objections can be raised to both theories? What problems of identity exist within the expression theories? How do elicitation and representation (as forms of emotional expression) differ from the expressivism of section 1? What is the role of rhetoric and other artistic forms and techniques? What does Danto mean when he suggests that emotions -- unlike sense impressions -- require justification?  Can artworks express themselves? What is the role of (metaphorical) exemplification in explaining this form of innate expression?

Danto

What is the "imitation theory" and what is the significance of his realist alternative (RT)? What explains Testadura's limited understanding of art? What is the "is" of artistic identification? (What other senses of "is" are there?) How does Danto employ "sea meets sky" in defense of conceptual art? What allows us to distinguish Warhol's Brillo Box from any other box of Brillo pads? (This, for short, is the "problem of perceptually indistinguishable counterparts" or PIC.)