Ideas of Richard Wollheim, by Theme
[British, b.1923, Studied at Oxford University. Professor at University College, London University.]
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8. Modes of Existence / E. Nominalism / 5. Class Nominalism
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20339
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Classes rarely share properties with their members - unlike universals and types
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15. Nature of Minds / C. Capacities of Minds / 4. Objectification
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20338
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We often treat a type as if it were a sort of token
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21. Aesthetics / A. Aesthetic Experience / 2. Aesthetic Attitude
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20342
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Interpretation is performance for some arts, and critical for all arts
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20343
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A love of nature must precede a love of art
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21. Aesthetics / B. Nature of Art / 1. Defining Art
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20348
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A criterion of identity for works of art would be easier than a definition
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21. Aesthetics / B. Nature of Art / 2. Art as Form
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20347
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If beauty needs organisation, then totally simple things can't be beautiful
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21. Aesthetics / B. Nature of Art / 4. Art as Expression
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20331
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It is claimed that the expressive properties of artworks are non-physical
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20345
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Some say art must have verbalisable expression, and others say the opposite!
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21. Aesthetics / B. Nature of Art / 6. Art as Institution
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20336
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Style can't be seen directly within a work, but appreciation needs a grasp of style
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20337
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The traditional view is that knowledge of its genre to essential to appreciating literature
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21. Aesthetics / B. Nature of Art / 7. Ontology of Art
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20333
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If artworks are not physical objects, they are either ideal entities, or collections of phenomena
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20334
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The ideal theory says art is an intuition, shaped by a particular process, and presented in public
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20335
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The ideal theory of art neglects both the audience and the medium employed
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20340
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A musical performance has virtually the same features as the piece of music
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21. Aesthetics / B. Nature of Art / 8. The Arts / a. Music
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20341
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An interpretation adds further properties to the generic piece of music
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21. Aesthetics / C. Artistic Issues / 3. Artistic Representation
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20332
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A drawing only represents Napoleon if the artist intended it to
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