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| Preface to the Third Edition | |
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| Introduction | |
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| Art and Pleasure | |
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| Hume on taste and tragedy | |
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| Collingwood on art as amusement | |
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| Mill on higher and lower pleasures | |
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| The nature of pleasure | |
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| Art and Beauty | |
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| Beauty and pleasure | |
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| Kant on beauty | |
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| The aesthetic attitude and the sublime | |
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| Art and the aesthetic | |
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| Gadamer and art as play | |
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| Art and sport | |
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| Summary | |
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| Art and Emotion | |
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| Tolstoy and everyday expressivism | |
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| Aristotle and katharsis | |
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| Expression and imagination | |
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| Croce and 'intuition' | |
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| Collingwood's expressivism | |
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| Expression vs expressiveness | |
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| Summary | |
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| Art and Understanding | |
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| Hegel, art and mind | |
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| Art, science and knowledge | |
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| Aesthetic cognitivism, for and against | |
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| Imagination and experience | |
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| The objects of imagination | |
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| Art and the world | |
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| Understanding as a norm | |
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| Art and human nature | |
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| Summary | |
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| Music and Sonic Art | |
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| Music and pleasure | |
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| Music and emotion | |
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| Music as language | |
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| Music and representation | |
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| Musical vocabulary and musical grammar | |
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| Resume | |
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| The uniqueness of music | |
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| Music and beauty | |
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| Music as the exploration of sound | |
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| Sonic art and digital technology | |
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| Summary | |
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| The Visual Arts | |
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| What is representation? | |
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| Representation and artistic value | |
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| Art and the visual | |
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| Visual art and the non-visual | |
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| Film as art | |
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| Montage vs long shot | |
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| 'Talkies' | |
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| The 'auteur' in film | |
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| Summary | |
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| The Literary Arts | |
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| Poetry and prose | |
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| The unity of form and content | |
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| Figures of speech | |
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| Expressive language | |
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| Poetic devices | |
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| Narrative and fiction | |
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| Literature and understanding | |
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| Summary | |
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| The Performing Arts | |
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| Artist, audience and performer | |
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| Painting as the paradigm of art | |
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| Nietzsche and The Birth of Tragedy | |
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| Performance and participation | |
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| The art of the actor | |
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| Summary | |
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| Architecture as an Art | |
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| The peculiarities of architecture | |
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| Form, function and 'the decorated shed' | |
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| Facade, deception and the 'Zeitgeist' | |
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| Functionalism | |
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| Formalism and 'space' | |
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| Resume | |
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| Architectural expression | |
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| Architecture and understanding | |
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| Summary | |
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| Modern Art | |
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| The break with tradition | |
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| Experimental art and the avant-garde | |
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| The art of the readymade | |
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| Conceptual art | |
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| The market in art | |
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| Art and leisure | |
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| Summary | |
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| The Aesthetics of Nature | |
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| Objectivism vs subjectivism | |
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| Art and interpretation | |
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| The artist's intention and the 'intentional fallacy' | |
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| The aesthetics of nature | |
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| Summary | |
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| Theories of Art | |
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| Defining art | |
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| Art as an institution | |
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| Marxism and the sociology of art | |
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| Levi-Strauss and structuralism | |
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| Derrida, deconstruction and postmodernism | |
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| Normative theory of art | |
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| Summary | |
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| Finding examples | |
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| Bibliography | |