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| Preface | |
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| Acknowledgements | |
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| Introduction | |
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| The Art of Food? | |
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| Can we think of cooking as an art form and the dishes it produces as works of art? | |
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| What in the end makes a practice an art form and a product a work of art? | |
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| Elizabeth Telfer, aFood as Arta | |
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| Carolyn Korsmeyer, aThe Meaning of Taste and the Taste of Meaninga | |
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| The aAuthentica Performance of Music What is it to give an aauthentica performance of a piece of music? | |
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| Should a performance be faithful to the composer's artistic intentions? | |
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| Would an aauthentica performance have any aesthetic advantages? | |
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| Stephen Davies, aAuthenticity in Musical Performancea | |
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| James O. Young, aThe Concept of Authentic Performancea | |
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| Fakes and Forgeries Would we be justified in revising our aesthetic judgment of a work after learning that it is a fake? | |
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| In what ways does (or should) our knowledge that an artwork is an original bear upon our aesthetic valuation of it? | |
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| Alfred Lessing, aWhat is Wrong with a Forgery?a | |
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| Denis Dutton, aArtistic Crimesa | |
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| Rock Music and Culture What role does music play in a culture? | |
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| What does the widespread preference for rock music over classical music say about contemporary Western culture? | |
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| Roger Scruton, aThe Decline of Musical Culturea | |
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| Theodore Gracyk, aMusic's Worldly Uses, or How I Learned to Stop Worrying and to Love Led Zeppelina | |
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| Appreciation, Understanding and Nature Are there correct and incorrect ways of appreciating nature and appreciating works of art? | |
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| How does our aesthetic appreciation of nature differ from our aesthetic appreciation of works of art? | |
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| Allen Carlson, aAesthetic Appreciation of the Natural Environmenta | |
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| Noil Carroll, aOn Being Moved By Nature | |
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| Between Religion and Natural | |
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| Historya | |
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| Malcolm Budd, aModels of Nature Appreciationa | |
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| Photography and Representation Are we interested in photographs for their own sake, or are we interested in photographs only for the sake of what they are photographs of? | |
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| Is photography a representational art form? | |
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| How does aesthetic appreciation of photographs differ from aesthetic appreciation of paintings? | |
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| Roger Scruton, aPhotography and Representationa | |
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| Dominic Lopes, aThe Aesthetics of Photographic Transparencya | |
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| Dawn M. Phillips, aThe Real Challenge for an Aesthetics of Photographya | |
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| Feelings and Fictions Fictional characters aren't real, so why should we care about what happens to them? | |
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| Are we genuinely moved by fictional events? | |
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| If so, how are our responses best understood? | |
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| Kendall Walton, aFearing Fictionallya | |
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| Alex Neill, aFiction and the Emotionsa | |
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| Enjoying Horror Why is it that we take such enjoyment in horror movies and novels? | |
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| Why would one seek out works which are apparently designed to make us experience feelings and emotions such as fear and revulsion? | |
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| Noil Carroll, aWhy Horror?a | |
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| Berys Gaut, aThe Paradox of Horrora | |
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| Sentimentality What makes an artwork, or a response to an artwork, sentimental? | |
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| Is sentimental art always bad art? | |
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| What makes sentimentality objectionable, when it is? | |
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| Is sentimentality ever appropriate in a work or a response? | |
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| Anthony Savile, aSentimentalitya | |
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| Ira Newman, aThe Alleged Unwholesomeness of Sentimentalitya | |
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| David Pugmire, aSentimentality and Truthfulnessa | |
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| Pornography and Erotica | |
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| Is there a difference bet | |