Inês Morais - Aesthetic realism
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Cover illustration: Melisa Hasan
This Palgrave Pivot imprint is published by the registered company Springer Nature Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Ins Morais writes a fluent, elegant prose, has a tough-minded and analytical approach to texts and issues at hand, and is clear and soberly assertive.
Antnio M. Feij, Professor of Literary Theory, University of Lisbon
This book is a timely addition to the growing discussion about aesthetic realism and the many ramifications this debate has for philosophical aesthetics in general. In this thought-provoking contribution, we hear a strong and interesting voice which will no doubt shape the scholarly discussion for some time to come.
Elisabeth Schellekens, Professor of Aesthetics, Uppsala University
This book is the result of my research at the University of London (20042006), at the University of Manchester (20062007), and at the University of Lisbon (20072009), as well as at the University of Maryland (USA) in September 2004. As the ancient Romans would recommend, I did not rush to publish it. Although there were issues of detail that I had to improve ten years later, the main project remains, to my mind, valid and necessary: to defend a consideration of aesthetic properties (including beauty) as genuine properties of things such as works of art. When we ascribe balance, delicacy, elegance, or beauty to a work, we are not talking about our reactions, we are talking about objective features which inspire reactions. It is this focus on the object (on objectivity) that this study intends to emphasize. And the emphasis is needed because much has been written in the opposite direction, as if the aesthetic properties were really in the eyes of the beholder.
I could have chosen to consider natural beauty and natural aesthetics, but that was not my concern. I restricted my attention to the aesthetic properties and the beauty of works of art, as considering natural beauty would be the subject for yet another book. I am interested here in the beauty created by artists, that is, the beauty or aesthetic value artists add to reality.
I was influenced by several people in readings and discussion, and some of them have commented on my work. I would like to thank, in particular, Chris Daly, Julian Dodd, Antnio M. Feij, Maria de Lourdes Ferraz, Stacie Friend, (the late) Peter Goldie, Peter Lamarque, Jerrold Levinson, David Liggins, Fraser MacBride, Anna Christina Ribeiro, Pedro Santos, Elisabeth Schellekens, and Miguel Tamen. I also thank two anonymous referees for comments and suggestions that improved the book.
My main research was funded by Fundao para a Cincia e Tecnologia [SFRH/BD/12682/2003] and I gratefully acknowledge FCTs support to my work. My one-month research at the University of Maryland was generously funded by Fundao Luso-Americana para o Desenvolvimento [Proj. R.VII-318/2004].
This book is dedicated to the memory of my parents, Maria do Cu Morais and Antnio Carlos Morais, and to my son, Tam.
This chapter describes the realism/anti-realism debate, first in general (concerning realism about the external world), then more specifically, concerning aesthetics and the philosophy of art (including the philosophy of literature). My aims are twofold. Firstly, I aim to introduce the discussion of aesthetic realism. Secondly, I aim to counteract scepticism about the very significance of the ontological debate by doing what the sceptic claims to be impossible, namely providing a description of the issue which is acceptable to both realists and anti-realists about the aesthetic. Aesthetic realism and anti-realism are briefly characterized.
Realism is here meant to be a thesis about (some portion of) the world and our sensitivity to it, as opposed to a thesis about language and our use of it. In general, realism is the claim that something exists objectively, that is, its being is independent of what particular people think. Whether cats, daisies, volcanoes, dinosaurs, centaurs, colours, justice, beauty , or any supreme being exist is, according to realism , independent of what people think, that is, the realist admits the possibility that, always or at some point in time, we may all be wrong about what exists. Anti-realism about an alleged entity is the rejection of realism about that entity.
Given that the realism/anti-realism debate has been understood in various ways, it is important to first clarify, as possible, what will be at issue here. My aim in this chapter is to arrive at a characterization of the debate that both realists and their opponents can accept. By doing so I also aim to dismiss scepticism concerning the very significance and worth of the debate between aesthetic realism and anti-realism . I begin by briefly characterizing the general debate concerning common-sense realism about the external world, in order to see what light this can throw on the local debate in aesthetics and the philosophy of art (including the philosophy of literature) with which this study is concerned.
Realism [is] a claim about what entities exist and a claim about their independent nature. (Devitt 1984, 14)
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