- Paperback: 291 pages
- Publisher: Hackett Publishing Company, Inc.; 2 edition (June 1, 1976)
- Language: English
- ISBN-10: 0915144344
- ISBN-13: 978-0915144341
- Product Dimensions: 0.8 x 5.5 x 8.2 inches
- Shipping Weight: 11.2 ounces (View shipping rates and policies)
- Average Customer Review: 6 customer reviews
- Amazon Best Sellers Rank: #234,252 in Books (See Top 100 in Books)
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Languages of Art 2nd Edition
Use the Amazon App to scan ISBNs and compare prices.
Frequently bought together
Customers who bought this item also bought
Like Dewey, he has revolted against the empiricist dogma and the Kantian dualisms which have compartmentalized philosophical thought. . . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down. --Richard Rorty, The Yale Review</div>
Top customer reviews
This influence is unfortunate, because in his treatment of visual art, Goodman makes some sensational errors.
Goodman claims, and attempts to prove, that resemblance is irrelevant to representational art. In other words, that portrait of your Aunt Maud is a good likeness not because it looks like her, but because the artist has effectively deployed a system of visual symbols, more or less equivalent to language, that both artist and viewer have been acculturated to accept as constituting a "likeness." Never mind the fact that the colors and shapes in the portrait are remarkably similar to those on Aunt Maud's face. Goodman assures the reader that perceived resemblance has nothing to do with even the most realistic painting or sculpture.
Sometimes going against the grain of common sense yields astonishing insights. Other times, as in this book, it only makes the author look silly.
Read this book if you are interested in the background to a kind of extreme cultural relativism that has taken the field of art history by storm in the past twenty years.