REFF - Faculty of Philosophy Repository
University of Belgrade - Faculty of Philosophy
    • English
    • Српски
    • Српски (Serbia)
  • English 
    • English
    • Serbian (Cyrillic)
    • Serbian (Latin)
  • Login
View Item 
  •   REFF
  • Filozofija / Philosophy
  • Radovi istraživača / Researcher's publications - Odeljenje za filozofiju
  • View Item
  •   REFF
  • Filozofija / Philosophy
  • Radovi istraživača / Researcher's publications - Odeljenje za filozofiju
  • View Item
JavaScript is disabled for your browser. Some features of this site may not work without it.

Vitgenštajnova ideja porodičnih sličnosti i Vajcov decizionizam u estetici

Wittgenstein's idea of family resemblances and Weitz's decisionism in aesthetics

Thumbnail
2011
1221.pdf (28.67Mb)
Authors
Jovanović, Monika
Article (Published version)
Metadata
Show full item record
Abstract
Even though Ludwig Wittgenstein, as far as we know, did not (explicitly) maintain some particular position on the nature of art and the possiblity of defining works of art, he had a great influence in analytic aesthetics. However, it would be wrong to say that his idea was always understood uniformly, in aesthetics as well as in general philosophy. On the contrary, those very philosophers who considered themeselves the followers of Wittgenstein, most notably Morris Weitz, understood it less conventionally than one could expect considering their attitude towards Wittgenstein's later philosophy It is natural to understand Wittgenstein's opposition to the traditional platonistic assumption that the concepts are always applied on the basis of a property or set of properties common to particular cases which fall under these concepts as a refutation of the idea that there must be a set of individually necessary and jointly sufficient conditions in order to apply concepts or use concept-words.... However, Weitz understands Wittgenstein's alternative model of justification of applying concepts such as concept of game, concept of number, concept of language game, etc. on a more or less determinate set of mutually different cases much more radically. Namely, he thinks that there are neither necessary nor sufficient conditions for application of those aesthetic concepts, most notably the concept of artwork, which in his opinion have family resemblance structure. Thus, for Weitz, whether we apply such concepts or not is in fact the matter of our decision.

Source:
Belgrade Philosophical Annual, 2011, 24, 45-74
Publisher:
  • Univerzitet u Beogradu - Filozofski fakultet - Institut za filozofiju, Beograd

ISSN: 0353-3891

[ Google Scholar ]
Handle
https://hdl.handle.net/21.15107/rcub_reff_1224
URI
http://reff.f.bg.ac.rs/handle/123456789/1224
Collections
  • Radovi istraživača / Researcher's publications - Odeljenje za filozofiju
Institution/Community
Filozofija / Philosophy
TY  - JOUR
AU  - Jovanović, Monika
PY  - 2011
UR  - http://reff.f.bg.ac.rs/handle/123456789/1224
AB  - Even though Ludwig Wittgenstein, as far as we know, did not (explicitly) maintain some particular position on the nature of art and the possiblity of defining works of art, he had a great influence in analytic aesthetics. However, it would be wrong to say that his idea was always understood uniformly, in aesthetics as well as in general philosophy. On the contrary, those very philosophers who considered themeselves the followers of Wittgenstein, most notably Morris Weitz, understood it less conventionally than one could expect considering their attitude towards Wittgenstein's later philosophy It is natural to understand Wittgenstein's opposition to the traditional platonistic assumption that the concepts are always applied on the basis of a property or set of properties common to particular cases which fall under these concepts as a refutation of the idea that there must be a set of individually necessary and jointly sufficient conditions in order to apply concepts or use concept-words. However, Weitz understands Wittgenstein's alternative model of justification of applying concepts such as concept of game, concept of number, concept of language game, etc. on a more or less determinate set of mutually different cases much more radically. Namely, he thinks that there are neither necessary nor sufficient conditions for application of those aesthetic concepts, most notably the concept of artwork, which in his opinion have family resemblance structure. Thus, for Weitz, whether we apply such concepts or not is in fact the matter of our decision.
PB  - Univerzitet u Beogradu - Filozofski fakultet - Institut za filozofiju, Beograd
T2  - Belgrade Philosophical Annual
T1  - Vitgenštajnova ideja porodičnih sličnosti i Vajcov decizionizam u estetici
T1  - Wittgenstein's idea of family resemblances and Weitz's decisionism in aesthetics
EP  - 74
IS  - 24
SP  - 45
UR  - https://hdl.handle.net/21.15107/rcub_reff_1224
ER  - 
@article{
author = "Jovanović, Monika",
year = "2011",
abstract = "Even though Ludwig Wittgenstein, as far as we know, did not (explicitly) maintain some particular position on the nature of art and the possiblity of defining works of art, he had a great influence in analytic aesthetics. However, it would be wrong to say that his idea was always understood uniformly, in aesthetics as well as in general philosophy. On the contrary, those very philosophers who considered themeselves the followers of Wittgenstein, most notably Morris Weitz, understood it less conventionally than one could expect considering their attitude towards Wittgenstein's later philosophy It is natural to understand Wittgenstein's opposition to the traditional platonistic assumption that the concepts are always applied on the basis of a property or set of properties common to particular cases which fall under these concepts as a refutation of the idea that there must be a set of individually necessary and jointly sufficient conditions in order to apply concepts or use concept-words. However, Weitz understands Wittgenstein's alternative model of justification of applying concepts such as concept of game, concept of number, concept of language game, etc. on a more or less determinate set of mutually different cases much more radically. Namely, he thinks that there are neither necessary nor sufficient conditions for application of those aesthetic concepts, most notably the concept of artwork, which in his opinion have family resemblance structure. Thus, for Weitz, whether we apply such concepts or not is in fact the matter of our decision.",
publisher = "Univerzitet u Beogradu - Filozofski fakultet - Institut za filozofiju, Beograd",
journal = "Belgrade Philosophical Annual",
title = "Vitgenštajnova ideja porodičnih sličnosti i Vajcov decizionizam u estetici, Wittgenstein's idea of family resemblances and Weitz's decisionism in aesthetics",
pages = "74-45",
number = "24",
url = "https://hdl.handle.net/21.15107/rcub_reff_1224"
}
Jovanović, M.. (2011). Vitgenštajnova ideja porodičnih sličnosti i Vajcov decizionizam u estetici. in Belgrade Philosophical Annual
Univerzitet u Beogradu - Filozofski fakultet - Institut za filozofiju, Beograd.(24), 45-74.
https://hdl.handle.net/21.15107/rcub_reff_1224
Jovanović M. Vitgenštajnova ideja porodičnih sličnosti i Vajcov decizionizam u estetici. in Belgrade Philosophical Annual. 2011;(24):45-74.
https://hdl.handle.net/21.15107/rcub_reff_1224 .
Jovanović, Monika, "Vitgenštajnova ideja porodičnih sličnosti i Vajcov decizionizam u estetici" in Belgrade Philosophical Annual, no. 24 (2011):45-74,
https://hdl.handle.net/21.15107/rcub_reff_1224 .

DSpace software copyright © 2002-2015  DuraSpace
About REFF | Send Feedback

OpenAIRERCUB
 

 

All of DSpaceInstitutions/communitiesAuthorsTitlesSubjectsThis institutionAuthorsTitlesSubjects

Statistics

View Usage Statistics

DSpace software copyright © 2002-2015  DuraSpace
About REFF | Send Feedback

OpenAIRERCUB