فلسفه غرب

The Relationship between Object and Work in Peter Lamarque's Ontological Theory

نوع مقاله : مقاله پژوهشی

نویسندگان

1 Associate Professor, Department of Philosophy, Allame Tabataba”i University, Tehran, Iran

2 Ph.D Student of Philosophy, Allame Tabataba”i University, Tehran, Iran

چکیده

A primary issue in art ontology is identifying the essence and the category of the ‎artwork. Philosophers have had various contradictory perspectives towards this issue. One of the most ‎significant views belongs to Peter Lamarque called the theory of “Object and artwork”. According to this ‎theory, an artwork has intrinsic features meaning that it essentially holds some features while holding ‎them in all possible worlds, is a genuine phenomenon discrete from human mind, meaning that its ‎existence is not dependent on the human minds, and that its habitat is not the mind but the external ‎world and is considered as a furniture to it, is different from natural and common objects, despite being ‎made of normal, day-to-day and even mundane objects, can be interpreted, can have various ‎interpretations, and even occasionally, artworks are born into existence by the interpretation of the ‎creator and the artist, possesses relative and intentional adjectives, meaning that although it is a genuine ‎phenomenon, it is dependent on the audience as well, and is also a cultural construction that requires an ‎audience community to live, this means that if the artwork loses its audience community, it is no longer ‎an artwork but merely an object‎.

کلیدواژه‌ها

موضوعات

عنوان مقاله [English]

The Relationship between Object and Work in Peter Lamarque's Ontological Theory

نویسندگان [English]

  • Yousef Nozuhour 1
  • Hamidreza Ghanbari 2

1 Associate Professor, Department of Philosophy, Allame Tabataba”i University, Tehran, Iran

2 Ph.D Student of Philosophy, Allame Tabataba”i University, Tehran, Iran

چکیده [English]

A primary issue in art ontology is identifying the essence and the category of the ‎artwork. Philosophers have had various contradictory perspectives towards this issue. One of the most ‎significant views belongs to Peter Lamarque called the theory of “Object and artwork”. According to this ‎theory, an artwork has intrinsic features meaning that it essentially holds some features while holding ‎them in all possible worlds, is a genuine phenomenon discrete from human mind, meaning that its ‎existence is not dependent on the human minds, and that its habitat is not the mind but the external ‎world and is considered as a furniture to it, is different from natural and common objects, despite being ‎made of normal, day-to-day and even mundane objects, can be interpreted, can have various ‎interpretations, and even occasionally, artworks are born into existence by the interpretation of the ‎creator and the artist, possesses relative and intentional adjectives, meaning that although it is a genuine ‎phenomenon, it is dependent on the audience as well, and is also a cultural construction that requires an ‎audience community to live, this means that if the artwork loses its audience community, it is no longer ‎an artwork but merely an object‎.

کلیدواژه‌ها [English]

  • Ontology
  • Object
  • Artwork
  • Intentionality
  • Cultural Artefact
  • Peter Lamarque
Carroll, Noel (1999). Philosophy of Art: A Contemporary Introduction. London: Routledge.
Dickie, George (1997). Introduction to Aesthetics: An Analytic Approach. New York: Oxford University Press.  
Eco, A. (1403). honar va zibaee dar ghorone vosta (H. Rabeie.), Tehran: Gilgamesh pub (In Persian).
Feagin, Susan; Maynard, Patrick (eds.) (1997). Aesthetics. Oxford: Oxford University Press.
Gaut, Beyres; Lopes, Dominic McIver (eds.) (2005). Routledge Companion to Aesthetics, London: Routledge.
Gordon, Graham (2005). Philosophy of the Arts: An Introduction to Aesthetics, Routledge.
Gracyk, T. (2013). Ontological Contextualism, 3th edition, ed. by B. G. Lopes, Oxon: Routledge.
Isenberg, Arnold (1987. “Analytical Philosophy and the Study of Art”, The Journal of Aesthetics and Art Criticism, vol. 46.
Kant, I. (1395). naghde ghoveye hokm, trans. by A. Rashidian, Tehran: Ney Pub. (In Persian).
Kieran, Mathew (ed.) (2005). Contemporary Debates in Aesthetics and the Philosophy of Art. Oxford: Blackwell.
Kivy, Peter (ed.) (2004). The Blackwell Guide to Aesthetics, Oxford: Blackwell.
Lamarque, Peter (2010). Work and Object. Oxford: Oxford University Press.
Lamarque, Peter; Olsen, Stein Haugom (eds.) (2000). Aesthetics and the Philosophy of Art: the Analytic Tradition, an Anthology, Wiley Blackwell.
Levinson, Jerrold (ed.) (2003). Oxford Handbook of Aesthetics, Oxford: Oxford University Press.
Lyas, Colin (1997). Aesthetics, London: UCL.
Neil, Alex; Ridley, Aaron (eds.) (1995). The Philosophy of Art: Reading Ancient and Modern, New York: McGraw-Hill.
Neil, Alex; Ridley, Aaron (eds.) (2007). Arguing About Art: Contemporary Philosophical Debates, London: Routledge.
Pegler. K. (1397). porseshhaye bozorg dar zibaeshenasi, trans. by M. Karami, Tehran: Kargadan pub. (in Persian).
Schaper, Eva (ed.) (1983). Pleasure, Preference, and Value: Studies in Philosophical Aesthetics. Cambridge: Cambridge University Press.
Stecker, Robert (2005). Aesthetics and the Philosophy of Art: An Introduction, Lanham, MD: Rowman and Littlefield.
Thomasson, A. L. (2004). “The Ontology of Art”, in P. Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell.
Townsend, Dabney (1997). An Introduction to Aesthetics. Oxford: Blackwell.
Wolterstorff, N. (2009). “Ontology of Artworks”, in K. M. Stephen Davies (ed.), A Companion to Aesthetics, Blackwell.
فلسفه غرب
دوره 4، شماره 1 - شماره پیاپی 13
اردیبهشت 1404
صفحه 81-96