By Peg Zeglin Brand, Carolyn Korsmeyer
Emphasizing the human physique in all of its kinds, good looks limitless expands the limits of what's intended by way of attractiveness either geographically and aesthetically. Peg Zeglin model and a global team of participants interrogate the physique and the which means of actual attractiveness during this multidisciplinary quantity. This impressive and provocative e-book explores the historical past of physically beautification; the physicality of socially or culturally decided offerings of beautification; the interaction of gender, race, type, age, sexuality, and ethnicity inside and at the physique; and the classy that means of the concept that of attractiveness in an more and more globalized international.
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Extra resources for Beauty Unlimited
But beauty, narrowly conceived, is, if nothing else, a discernible property. That it tickles the relevant senses is in large measure what we intend by the concept of sheer beauty. Therefore, such beauty is not among the essentially defining properties of art—or, more simply, sheer beauty is not a necessary constituent of the concept of art. , is a necessary or essentially defining feature of art), then it is a property that is, in principle, indiscernible (something that cannot be eyeballed, something that cannot be detected by the senses).
One response that Danto has made to criticisms like this is blunt—to wit: there are no such artworks. 3 Indeed, given any putative example, he believes that he can show that it is really about something. Many beautiful artworks from the past that may strike us as mere eye candy actually served ritual, or religious, or political, or other cultural purposes. If we knew more about the culture from which they emerged, we would grant this. 4 31 NOËL CARROLL Furthermore, with various modern works of art that may appear to be simply beautiful—say, some Minimalist abstractions—Danto will argue that, far from being meaningless, they contribute to a dialogue about the nature of art.
13 PEG ZEGLIN BRAND He would tout the aesthetic properties of the composition in order to distract attention from the titillation he feels while looking upon an exotic body “under” his gaze. Alternatively, a more enlightened viewer might delve below the surface—beyond personal urges—to dig deeper, discovering gender as one key to unraveling and understanding “the problematic” of a woman’s body, which is not necessarily on view primarily for the delectation of a(ny) male viewer. The difference hinges on the attribution of agency, and to what degree.