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Preface | ||
Acknowledgements | ||
1 | Introduction | 1 |
Pt. 1 | The art of food? | 3 |
2 | Food as art | 9 |
3 | The meaning of taste and the taste of meaning | 28 |
Pt. 2 | The "authentic" performance of music | 51 |
4 | Authenticity in musical performance | 57 |
5 | The concept of authentic performance | 69 |
Pt. 3 | Fakes and forgeries | 81 |
6 | What is wrong with a forgery? | 87 |
7 | Artistic crimes | 100 |
Pt. 4 | Rock music and culture | 113 |
8 | The decline of musical culture | 119 |
9 | Music's worldly uses, or how I learned to stop worrying and to love Led Zeppelin | 135 |
Pt. 5 | Appreciation, understanding, and nature | 149 |
10 | Appreciation and the natural environment | 155 |
11 | On being moved by nature: between religion and natural history | 167 |
Pt. 6 | Photography and representation | 189 |
12 | Photography and representation | 195 |
13 | Scruton and reasons for looking at photographs | 215 |
14 | Individual style in photographic art | 223 |
Pt. 7 | Feelings and fictions | 233 |
15 | How can we be moved by the fate of Anna Karenina? | 239 |
16 | Fiction and the emotions | 250 |
Pt. 8 | Enjoying horror | 269 |
17 | Why horror? | 275 |
18 | The paradox of horror | 295 |
Pt. 9 | Sentimentality | 309 |
19 | Sentimentality | 315 |
20 | The alleged unwholesomeness of sentimentality | 320 |
Pt. 10 | Art and morality | 333 |
21 | Morals in fiction and fictional morality | 339 |
22 | Morals in fiction and fictional morality - a response | 358 |
Pt. 11 | Feminism and aesthetics | 375 |
23 | Oppressive texts, resisting readers and the gendered spectator: the "new" aesthetics | 381 |
24 | Art, oppression, and the autonomy of aesthetics | 399 |
Pt. 12 | Public art | 423 |
25 | Transcript of a hearing to decide the future of Tilted Arc | 429 |
26 | What is public art?: Time, place and meaning | 436 |
27 | Public art / public space: the spectacle of the Tilted Arc controversy | 446 |
28 | Public art controversy: the Serra and Lin cases | 457 |
Index | 471 |
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