FRIEDRICH NIETZSCHE
(1844-1900)
1. What two gods does Nietzsche say in The Birth of Tragedy lend their names to the two natural art impulses or energies, and what are some of the many characteristics of those respective energies and "art worlds
Apollo and Dionysus, the former being the art of the image-maker or sculptor, the latter being the image-less art of music
Apollo - Form and boundary (Dreams, poetry, philosophy).
Dionysus - Freed from constraints (music, intoxication)
2. What is the role of each kind of energy with respect to its counterpart
It is to stimulate and provoke, in open conflict, its counterpart- to give birth to new offspring in whom the conflict is perpetuated.
Apollonian - IMAGISITC. Principle of individuation. Universal Inteligibility (immediate certainty),
Dionysian - MUSICAL.
3. Which art form is characterized as non-imagistic and essentially musical
Dionysian
4. Nietzsche says the two energies (and their respective art forms) are only superficially reconciled by the term "art," by which he means that we call them both art, but mean something different in each case. Which art form in particular embodies their c
Attic tragedy
5. In the creation of what is every person truly an artist, for Nietzsche (which serves as a prototype for the plastic and visual arts as well as for poetry)
The creation of dreams
6. Why does "universal intelligibility" characterize the Apollonian arts but not the Dionysian- Our innermost being experiences the state of dreaming with profound pleasure and joyous necessity- i.e. everyone dreams and enjoys it
Universal Intelligibility refers to when things appear to us as conceptually meaningful. This is applicable in dreams because often they are symbols of our real existence.
7. How/why is Apollo the embodiment of the dreams, illusions, and the plastic energies-
He is the god of light, and he governs the lovely semblance produced by the inner world of fantasy
He is the god of all image-making energies. he is 'the luminous one', the god of light.
8. What "heals" waking life and what makes life possible and worth living, for Nietzsche
The higher truth and perfection of dreams in contrast to the unintelligible real world.
Art is a metaphysical supplement to transform the world- it gives us the drive to fully actualize our potential. Art is a transfiguring mirror.
9. Why are the Apollinion arts associated with the principle of individuation, and why does individuation make us long for the ecstatic "redemption" of primordial unity affected by the Dionysian
Dreaming (Apollinion) is solitary, and when people become confused by dreams they long for the intoxication of Dionysian art.
Apollonian art creates borders, which associates it with the principle of individuation. Individuation can make us feel alone and
10.How and when does man himself become a work of art
When he experiences intoxication induced by Dionysiac art
through Dionysian art as man feels himself not only united with his neighbor but one with him, he becomes a member of a higher community
11.In what sense is every artist an imitator, for Nietzsche
Every artist is an imitator because they attempt to imitate either the Apollonian or Dionysian art
12. What is the most important moment of the Greek cult, according to Nietzsche, and how is it related to tragedy
When the 'Delphic God' was limited to taking the weapons of destruction out of the hands of his mighty opponent in a timely act of reconciliation
When the Greeks realize how to give equal expression to both Gods.
13. In section 24, Nietzsche claims that art is not the mere imitation of nature, but what�and to what purpose
art is not merely an imitation- it is a metaphysical supplement to show what life could be like- it is like real life however a bit transfigured
How does this claim relate to his subsequent claim (in 24) that existence and the world are justified only as an "aesthetic" phenomenon, and (in 25) that art and music function as transfiguring illusions which make life worth living
this view of life presents a hopeful aspect in that things can be transfigured, this then makes life worth living because it is a hopeful activity that can always be made better. Art does not work simply to veil problems, it gives hope to change them.
Art
14.In the end, then, what makes life worth living, for Nietzsche
Life is worth living because of art. It gives one the capacity to change or transform their life.
Noel Carroll
(1947 - Present)
1.Carroll frames his investigation of art in terms of practices, rather than qualities- Why
Practices are aimed at achieving goods that are appropriate to the forms of activity that compromise them, and these reasons and goods, in art, situate the place of the practice in the life of the culture. Such practices supply the framework in which hum
2. Somewhat like Danto and Dickie, Carroll identifies three "moments" in the ongoing historical debate or "dialetic" concerning art. According to Carroll's version, what are those three stages, and what are the problems with each stage- How does Carroll's
A) Stage-one essentialism - assigning definitions which allow for the classifying and sorting of art.
*Weitz: Art cannot be defined by necessary and sufficient conditions.
B) The open concept approach - Weitz: art can be sorted on basis of "family resembl
3. What specified conditions does one have to meet in order to act on behalf of the artworld
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4. What is Carroll's understanding of a "cultural practice," and how does that concept differ from Dickie's concept of an "institutional procedure
Cultural practice: an arena of activity that governs itself such that it reproduces itself over time. It needs to provide for its continuance over time�even replicating itself. Requires rational means to facilitate transition while remaining recognizably
5. How does Carroll distinguish "rational strategies" (for identifying art) rather than "rules, definitions, first principles, or unitary theories
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6. What are the three strategies Carroll discusses
Repetition, Amplification, and Repudiation.
7. How does the cultural practice of art "transform itself" through the application of such strategies and supply its practitioners with strategies for identifying new works of art
Through a cultural practice- connect the new object to past artworks.
8. Carroll claims that his approach to art relies not on definition, but on narration. What does he mean- How are his strategies "narrative frameworks
Narration captures the unity of entities which come together as a result of certain patterns of development. Definitions cannot adequately do this.
9. On what two presuppositions does Carroll's Narrative procedure rest - Does a recognition of those presuppositions problematize his theory
1) Knowledge that some objects are art.
2) Knowledge of the salient features of those objects.
No. Once granted, one can show the unity and coherence of the practice by either moving forward or backward in any given point in its history.
R. G. Collingwood
(1889-1943)
1. What are the six characteristics of craft, according to Collingwood
1) always involves a distinction between means and end, each clearly conceived as something distinct from the other but related to it
2) it involes a distinction between planning and execution
3) means and end are related in one way in the process of plan
What are collingwood's criticisms of his six characteristics of craft
1) is present in the arts, only according to the technical theory
2) art does not imply the distinction between planning and execution- it is a permissible characteristic of art rather than a compulsory one.
3) art is not reversible in order as between me
2. Which, if any, of those characteristics does Collingwood think is/are legitimate
none of them
3. What are the differences between expressing, arousing and betraying emotions, for Collingwood
expressing- subtlety explore an emotion that you yourself are feeling, this is done with clarity, others will follow, naturally, your emotional path- this is done through speaking.
arousing- making a person feel a certain emotion at a certain point, for e
Which should the artist do according to collingwood
an artist should express an emotion rather than arouse or betray one
4. For Collingwood, art is addressed primarily and secondarily to whom
the speaker himself, anyone who can understand
5. How does Collingwood define the act of expressing emotion
at first a man is conscious of having an emotion, but not conscious of what this emotion is. He expresses himself through speaking. When it is expressed, it is no longer unconscious.
6. What is the characteristic mark of expression
lucidity or intelligibility
7. Why does Collingwood criticize the notion of catharsis
it happens when emotions are earthed through being discharged into a make-believe situation, but two things are never the same
8. What does Collingwood mean when he says "the artist never rants
artists are not merely exhibitionists, they do not create art to let out tension or steam, they create art to express a certain emotion and its derivation thereof.
9. What is the connection between imagination and the sensuous (material) element in art, according to Collingwood
Every imaginative experience is a sensuous experience raised to the imaginative level by an act of consciousness, every imaginative experience is a sensuous experience with the consciousness of the same. The aesthetic experience is an imaginative one, it
10. For Collingwood, what, if anything, does the act of creation (painting, writing, etc.) contribute to an artist's experience of his/her subject matter
There are many sensuous elements involved in these acts (more experience or the artist)- the artist more fully knows what he is painting
11. For Collingwood, what does an artist record in his/her artwork
He does not record the experience of looking at the subject without painting it, but the far richer and in some ways very different experience of looking at it and painting it together
Arthur Danto
(1924 - Present)
1. Why does Danto believe that imitation will not do as an explanation of art
This implies mirror images are art, which is ridiculous
2. What is the imitation theory of art (IT)
older (Socratic) theory of art, where art is the imitation of reality- mimesis
3. What is the reality theory of art (RT)
Art creates new forms, rather than imitating old ones. judge artwork more on the basis of their formal properties (that is, their properties as real objects), and less on the basis of the quality of their imitation or representation
4. What event in art history occasioned a conceptual revolution, and which of the two theories of art (IT or RT) did that revolution problematize
post impressionist paintings, it challenged "Imitation Theory
5. What does Danto mean when he says that artworks constitute non-facsimiles
Artwork not intended to deceive, to be something different entirely from the reality it alludes to
6. What is Danto's fictitious story about two paintings (entitled Newton' s First Law and Newton's Third Law) meant to illustrate
Notice here how one artistic identification engenders another artistic identification, and how, consistently with a given identification, we are required to give others and precluded from still others
indeed, a given identification determines how many elements the work is to contain. These different identifications are incompatible with one another, or generally so, and each might be said to make a different artwork, even though each artwork contains t
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7. How does one artistic identification engender other identifications while precluding still others- What is the "is" of artistic identification
The 'is' is used in sentences like "That a is b" where a is some specific physical property or part of an object. It is a necessary condition for something to be an artwork that is can be the subject of such a sentence.
A white dab is identified with Icar
8. What two things are required in order to see something as art
Needs an art theory and an art world or art history
something is a work of art if and only if (i) it has a subject (ii) about which it projects some attitude or point of view (has a style) (iii) by means of rhetorical ellipsis (usually metaphorical) which
9. What is an artworld, for Danto
cultural context or "an atmosphere of art theory
10. What is the role of artistic theories, according to Danto
It is the role of artistic theories, these days as always, to make the artworld, and art, possible.
George Dickie
(1926 - Present)
1. What characterizes the three phases of art criticism, according to Dickie, in "Art and the Aesthetic: An institutional Analysis
imitation theory - art is representative
expression theory - art cannot be defined
neo-essentialist (institutional) - Mix of both previous theories - trying to define art, but acknowledges that there are faults in a single definition
3. According to Dickie, on what relation did the imitation theory of art focus- On what relation did the expression theory focus
Imitation theory - the relation to the subject matter (ex. literature was representational in that it describes the familiar senses of life)
expression theory - the relation of a work to its creator
4. What 'denial' does Dickie attribute (correctly) to Morris Weitz- How does Dickie think that his theory incorporates Weitz's objections without denying them importance
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5. How does Dickie (following Mandelbaum) conceive the difference between "exhibited" and "non-exhibited" features of art
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6. In attempting to define the "classificatory" or "primary" sense of art (in which we identify art, and don't just use the word 'art' to signify something particularly skillful or beautiful), Dickie says there are two necessary and sufficient conditions.
the institutional nature of art
a set of the aspects of which has had conferred upon it the status of candidate for appreciation by some person or persons acting on behalf of a certain social institution (the artworld)
7. How is Dickie's second criterion "non-exhibited
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8. According to Dickie (and Kennick) we are most likely to discover what art is by focusing not on art objects (artifacts), but on what
by considering what we do with certain objects (the doing)
9. How does Dickie conceive of the relation between his institutional model of art and Danto's notion of the 'artworld'
non-exhibited properties are of great importance
the artworld is an institution
institution = an established practice (or society)
10. How is the artworld a "bundle of systems
it consists of theater, painting, sculpture, literature, music, and so on
each of which furnishes an institutional background for the conferring of the status on objects within its domain
no limit can be placed on the number of systems
elasticity of the s
11. What are the four conditions constitutive of Dickie's definition of art in the classificatory sense
acting on behalf of the institution
conferring of status
being a candidate
appreciation
12. How is "artistic status" conferred upon an artifact, according to Dickie
By those who are in the institution of art.
13. Dickie rejects the idea that there is a special 'aesthetic appreciation.' So, what does he say that he means by "appreciation
in experiencing the qualities of a thing, one finds them worthy or valuable
14. Why does Dickie think his definition is not viciously circular, even though his definition contains references to elements of the term being defined
the whole account in which the definition is embedded contains a great deal of information about the art world
what is important is to see that art is an institutional concept and this requires seeing the definition in the context of the whole account (yo
15. In the end, how does Dickie think that we distinguish a natural object from an artifact (art object)
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16. How does Dickie differentiate the 'procedures' at work in the artworld (in conferring artistic status on artworks) from those at work in the legal world, or other institutional contexts
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John Dewey
(1859-1952)
1. Why does Dewey claim that the physical existence of works of art constitutes an impediment to creating adequate theories about them
The works are products that exist externally and physically- since the actual work of art is what the product does with and in experience, the result (external product) is not favorable to understanding. Also, the very perfection of some of these products
2. What does Dewey mean when he says craftsmanship must be "loving
It (craftsmanship) must care deeply for the subject matter upon which skill is exercised.
3. Why does Dewey say a work must be aesthetic in order to be truly artistic- What does he mean, and what qualities make an artwork aesthetic
It must be framed for enjoyed receptive perception. Constant observation by the maker while he is producing is necessary, but his perception must also be aesthetic in nature. Aesthetic refers to experience as appreciative, perceiving, and enjoying. It den
4. What does Dewey mean when he says that the poem and picture must pass through the alembic of personal experience
they have no precedents in existence or in universal being
their material came from the public world and so has qualities in common with the material of other experiences while the product awakens in other persons new perceptions of the meanings of the co
5. How are the artist and audience of an artwork connected, for Dewey
through the external object, the product of art
6. How does Dewey characterize the "esoteric" idea of art- Why does he criticize it
That an artwork is so unique that we say it is without meaning because there is no connection with other experiences we've had. Why does he criticize it- Because art clarifies and concentrates meanings contained in scattered and weakened ways in the mater
7. What are some of the differences between expression and statement, between how science and art convey and conceive "meaning" differently
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8. Why does Dewey say aesthetic art constitutes experience
How does this differ from what science does?
9. Are objects of art constitutive of a language�or multiple languages�according to Dewey- How and why
art has its own medium and that medium is especially fitted for one kind of communication
the medium says something that cannot be uttered as well or as completely in any other tongue
art speaks an idiom that conveys what cannot be said in another languag
10. How is the difference between substance and form pertinent to the question of language
substance - what is said
form - how it is said
11. What is beauty, for Dewey
Something (art) that is adequately expressive. Truth.
12. For Dewey, does the material of art belong to common world of the public or the private world of the self
The common world of the public
13. What does Dewey mean when he says that art is re-created every time it is aesthetically experienced
it is universal because it continually inspires new personal realization in experience
it means differently to the artist at different times and stages of development
14. For Dewey, what does it mean for an artwork to have form
substance formed that it can enter into the experiences of others causing them to have an intense experience of their own
15. What does Dewey say a work of art does
a work of art is an experience that represents/expresses the artist and the artifact. In a work of art, this expression is recreated every time it is experienced.
16. For Dewey, what is true of the world into which art introduces or carries us
we touch the world through a tentacle and it comes home iwth us
we see colors without impurities
medium of art becomes the only color
only color carries the qualities of movement, touch, sound
the expressiveness and energy of color is enhanced
17. How does art constitute a challenge to philosophy
The uniqueness of experiences makes it hard to classify. It has some degree of imaginative quality that can't be put into a box.
18. What are Dewey's differences between artworks and machines (use objects)
Mere perfection in execution, judged in its own terms of isolation, can probably be attained better by a machine then by human art." this is at most technique, but true art must also be aesthetic.
19. What is imaginative vision and what does it have the power to do, according to Dewey
The power that unifies the constituents of the matter of an artwork
Sigmund Freud
(1856-1939)
1. What are some of the significant similarities between childhood play and artistic creativity, for Freud
childhood play- this involves creating a world of their own in through which they truly rearrange the things of their world and order it in a new way that pleases them better. The child takes their play seriously and expends a great deal of emotion over i
2. According to Freud, can we ever really give up the pleasures we derived from childhood play- Why or why not, and what significance does this have for art
NO. Humans can never relinquish a pleasure they have once experienced. they can only exchange it. We don't give it up, we only adopt a substitute.
3. What are day-dreams, and why are we ashamed of them
day dreams are the exchange for a child's play- it is created fantasy (a continuation of a play). They are ashamed because they know they are not expected to play any longer (it seems childish and therefor forbidden).
How do artists avoid that shame in creating artworks which nevertheless are like day-dreams
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4. Do happy people have fantasies, according to Freud
No, only dissatisfied people.
5. What are Freud's two main categories of unsatisfied wishes, and how do they differ between men and women
Ambitious - Young men are dominated by their ambitious wishes, which help their erotic desires.
Erotic - Young women are dominated by erotic wishes- their ambition is generally comprised in their erotic longings.
6. Where did epic writers and poets get their material, according to Freud
From their wishes- hence their day dreams
7. For Freud, what is the connection between fantasies and time (past, present & future)
a fantasy hovers between three periods of time- the three periods which of our ideation. Current fantasy is linked with some current impression, that is due to something in the present, which had the power to arise an intense desire, from there on it wand
8. For Freud, what causes fantasies and day-dreams to trigger neuroses and/or psychoses
if fantasies become over-luxuriant and over-powerful
9. For Freud, what are some of the characteristics of "less pretentious" writers of romance novels and similar artworks
they are read by the widest circles of men and women- they all have a hero which is the center of interest, for whom the author tries to win our sympathy by every possible means, and whom he places under the protection of a special providence.
10. How are day-dreams and poetic productions "fruitful"�that is, what is their result
A production of art
11. What are myths, according to Freud
They are not spontaneous production, but rather a refashioning of ready-made material, this material is derived from the racial treasure-house of myths
12. For Freud, what is the inner-most secret of the poetic arts
The essential art of poetry lies in the technique by which our feeling of repulsion is over come, and this has certainly to do with those barriers erected between every individual being and all others.
Nelson Goodman
(1906-1998)
1. Why does Nelson Goodman think that the question, "what is art" is the wrong question to ask about art-
Because it often ends in confusion and frustration
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2. What are some of Goodman's many criticisms of the confused claim (made in his day by so called "purists") that art is non-symbolic
He shares an anecdote where a writer developed a story then later added symbols
symbols, whether enhancements or distractions are extrinsic to the work itself. Art that is non-symbolic has no subject- it cannot represent anything. Examples of this are: purely abstract, decorative, formal, buildings, or musical compositions.
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3. Must what a symbol symbolizes lie outside the symbol, as the purists assume�that is, must it be exterior to the symbol itself (and to any artwork which employs symbols)
What a picture symbolizes is external, and it is extraneous to the picture as a work of art. NO- consider "having seven syllables
4. Why does Goodman think the very distinction between external and internal properties of the symbolic is hopelessly muddled
Presumably the colors and shapes in a picture must be considered internal, but if an external property is one that relates the picture or object to something else, then colors and shapes obviously must be counted as external- for the color and or shape of
5. What does Goodman hope to show with his fictional anecdotes about samples (of fabric and cake)
A sample is a sample of some thing's properties, but not all of them
What implications does goodman's fictional anecdotes about samples have for art
The properties that count in a purist painting are the ones a picture makes manifest- those properties that it does not merely possess but exemplifies.
In other words, what is the connection goodman sees between symbols and samples
Works of art exemplify certain properties- event the purists' artwork does so, representation is a form of reference. A work of art free of representation and expression is still a symbol because what it symbolizes is if not people or feelings, is certain
6. How is the purists' disdain for external references in art both "all right and all wrong
Right- in saying that what is extraneous is extraneous- this points out that a picture often represents very little- stresses importance of intrinsic formal properties.
Wrong- in that it assumes that representation and expression are the only symbolic fun
7. Are representation and expression the only symbolic functions a painting or other work of art may perform, according to Goodman
A painting also can function with exemplification.
8. What is the right question to ask about art
When is art
9. When do things function as works of art, according to Goodman
They function as works of art when they function as a symbol, and only when their symbolic functioning has certain characteristics.
10. What are Goodman's five "symptoms" of the aesthetic
1) syntactic density
2) semantic density
3) relative repleteness
4) exemplification
5) multiple and complex reference
11. What does Goodman mean when he insists on the "nontransparency" of an artwork, the "primacy of the work" over what it refers to
It is derived from certain characteristics of work as a symbol. It focuses on symbolic functions.
12. (pg. 247) Goodman thinks that "artistic merit" or "excellence" is usually judged by beauty, but this approach fails from the start when artworks are ugly. He thinks that evaluating a work by the satisfaction if provides is equally problematic. After c
the cognition in and for itself ,
by how well it serves the cognitive purpose
13. According to Goodman, how does the "general excellence" of symbolization become "aesthetic"- How does this approach "dissolve" the problem of beauty/ugliness in evaluating art
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14. For Goodman, "aesthetic experience is cognitive experience distinguished by the dominance of certain symbolic characteristics and judged by the standards of cognitive efficacy." What does this claim overlook, according to Goodman
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15. Why do we reserve the terms "true" and "false" for symbols in sentential form, and not for artworks, according to Goodman- In what does he think is found the real difference between art and science
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Martin Heidegger
1889-1976
1. In explaining the title of his essay "The Origin of the Work of Art," how does Heidegger define the words "origin" and "essence.
Origin - from and by which some thing is what it is and as it is.
**The origin of something is the source of its nature. The artist is the origin of a work and the work is the origin of the artist- neither is one without the other.
Essence - some thing's
2. What does Heidegger say he hopes to discover in asking about the "thingly character" of a work of art
Works are naturally present. We take works as they are encountered by those who experience and enjoy them- however even the vaunted-aesthetic experience cannot get around the thingly aspect of the art work. (something stony in architecture, something wood
3. In trying to discover what the equipmental or practical being of equipment is in truth�that is, what the essential being of equipment is�why does Heidegger say it is not enough to simply imagine or look at equipment
If we look at a tool, then we are not using it and its essence as a tool remains hidden. equipment comes into being through human nature- hence it becomes equipmental- it is an intermediate position between thing and work. The equipmental quality of equip
4. What word does Heidegger finally use to describe the "equipmental quality," or essential being, of equipment, and how does this word lead to a discussion of earth and world
the equipment belongs to the earth and it is protected in the world of the peasant woman ( he uses a metaphor of worn out shoes owned by a peasant woman- a painting of Van Gogh's)- from out of this protected belonging the equipment itself rises to its res
5. According to Heidegger, how did Van Gogh's painting of peasant shoes help us discover the equipmental quality of equipment
In the vicinity of the work we were suddenly somewhere else than we usually tend to be. The art work let us know what shoes are in truth. The equipmentality of equipment first genuinely arrives at its appearance through the work and only in the work. The
6. What does this discovery suggest about works of art in general�that is, about why we are justified in calling them works of art
In the work of art the truth of an entity has set itself to work. the truth is at work in a work of art--that is, the truth is displayed thematically. "To set" here means to bring to a stand. If there is a disclosure of a particular being in a work then t
7. How does Heidegger define the Greek word aletheia, and how is it related to the question concerning the nature of art
The Greeks defined it as the unconcealedness of beings. The nature of art is the truth of beings setting itself to work. In fine art the art is not beautiful- it only produces the beautiful. Truth, in contrast, belongs to logic. Beauty is reserved for aes
8. In the end, how does Heidegger define a work of art�whether it be a painting or a poem or a building
Art is the truth of beings setting itself to work.
9. How does Heidegger understand the words "earth" and "world," and how does a work of art bring them together
The earth (MATTER/ SUBSTANCE) is the thing upon which man bases his dwelling. It is the sheltering agent
it is self-dependent. To be a work sets up a world. Through a world (RELATIONS/ FORM) can something open and establish their structure.The world is not an object.
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10. According to Heidegger, in what does the "work-being" of a work consist
It consists in the setting up of a world.
In other words, what are the two essential features of a work
1) the setting forth of an earth
2) the setting up of a world
11. What particular kind of relation do these two features exhibit in the work itself
The work lets the earth be an earth. The work moves the earth itself into the open of a world and keeps it there. It can only rest in motion. The world is the self-disclosing openness of the broad paths of the simple and essential decisions in the destiny
12. In what sense is all art poetry, according to Heidegger
Displays the creativeness of and the tension between EARTH and WORLD.
13. What does Heidegger say is the essence of poetry (and thus, of art)
The founding of language/meaning.
Carl Jung
1856-1939
1. What are some of the problems that Jung believes are associated with the (mostly) Freudian reading of art as a window into the mind of the artist
Jung believes the significance of art cannot lie exclusively in personal psychological material, but must transcend the person to universal characteristics of humanity.
? Archetypes of all human inner experience
2. What limitations to aesthetic interpretation are inherent to psychology as a scientific pursuit, according to Jung
You can't draw conclusive inferences about the artist from the work of art (or vice versa).
? Psychology doesn't allow for "rigorous causal connections" like those found in science.
? The mind is very intricate, many psychic processes- art "baffles all at
3. How does a psychologist approach works of art differently than does a critic, according to Jung
Psychology and the study of art will aways have to turn to one another for help in explaining the human psyche (the creative act)- neither invalidates the other.
? A psychologist likes works of art which leave room for analysis and explanation (and even i
4. How does Jung distinguish "psychological" creations from "visionary" creations
Psychological: Deals with materials drawn from the realm of human consciousness (lessons of life, emotional shocks, experience of passion, crises of human destiny): things that make up the conscious life of man and his feeling life. Material is given an e
5. What are some of the traits Jung attributes to the "hinterland," the primordial "super-human" and dark "night-world" that visionary artists attempt to access- What do such artists have in common with prophets and seers- Why must this world be seen "as
the primordial experience is the source of his creativeness- it cannot be fathomed, and therefore requires mythological imagery to give it form. it offers no words or images, for it is a vision seen "as in a glass, darkly" it is merely a deep presentiment
6. In what sense is visionary art "true symbolic expression," according to Jung
the expression of something existent in its own right, but imperfectly known
7. For Jung, what can psychology do towards the elucidations of the colorful imagery produced by visionary art
nothing except bring together materials for comparison and offer a terminology for its discussion
8. How does Jung define the "collective unconscious
A certain psychic disposition shaped by the forces of heredity, from it consciousness has developed.
9. Why does Jung believe that artistic creativity is a riddle that we try to explain in vain
(pg. 517)
10. What does Jung think is wrong with Freud's attempts to analyze art in terms of the individual artist's repressed desires?
Freud puts too much emphasis on sexual and individual experiences. We have to attend more to communal, social, and arch
11. In what is the "secret of artistic creation" to be found, according to Jung
At what level did he say it was to be found�at the individual level or the collective level? Why?
a return to the state of participation mystique - that level of experience at which it is man who lives, and not the individual, and at which the weal or woe
Leo Tolstoy
1828-1910
1. On what two capacities is the activity of art based, according to Tolstoy
One man feels an emotion and projects it through the senses, namely, hearing or sight, and then another man experiences the emotion that has just been expressed
2.What is the guiding metaphor Tolstoy employs to illustrate artistic communication
disease and infection
3.With what act does art begin
Art begins when one person, with the object of joining another or others to himself in one and the same feeling, expresses that feeling by certain external indications
4. What are some of the feelings which art can communicate
Delight, sorrow, despair, courage, despondency, and the transition between feelings
Are there many or just a few feelings which art can communicate according to tolstoy
There are various feelings, some strong, some weak, very important, very significant, very bad, or very good, feeling of love for one's country, self-devotion, submission to fate or to God, lovers in a novel, feelings of voluptuousness expressed in a pict
5.How does Tolstoy define the activity of art
That one man consciously, by means of certain external signs, hands onto others feelings he has lived through, and that others are infected by these feelings and also experience them
6. What does Tolstoy say is a "sure sign" of art
If a man feels emotions and hence union with others, he is infected by it
7. What is the "sole measure of excellence" in art
The degree of infectiousness
8.What are the three conditions on which the "contagious" quality of art rests
1) on the greater or lesser individuality of the feeling transmitted
2) on the greater or lesser clearness with which the feeling is transmitted
3)
on the sincerity of the artist, that is, on the greater or lesser force with which the artist himself feels
9.Is one of those conditions of tolstoy's contagious quality of art more important than the others
The third rule- the artist should be impelled by an inner need to express his feeling- sincerity
10.Is it true that the absence of any one of those three conditions will disqualify a creation from being a work of art
If something is missing any of these three categories, it is no longer art- it is only a counterfeit of art
11.Can a work be weak�that is, meet Tolstoy's three conditions, but not with much distinction�and still be a work of art
Yes. A work is weak if all of the conditions are present, but it in a small degree