Abstract

In this... essay,... linguist Roy Harris reflects on the early nineteenth-century doctrine of 'art for art's sake'. Attacked by Proudhon and Nietzsche, but defended by Theophile Gautier and E. M. Forster, it influenced movements as diverse as futurism and Dada. Over the past two centuries, three main positions have emerged. The 'institutional' view declares art to be a status conferred upon certain works by the approval of influential institutions. The 'idiocentric' view gives absolute priority to the judgment of the individual. The third is the 'conceptual' view of art, which insists that what counts is the idea that inspired a work, not the physical execution. But, as Harris shows, the tacit assumptions which once supported this debate and these positions have now collapsed. 'Art' as a coherent category has imploded, leaving behind a historical residue of empty questions that contemporary society can no longer answer." --book cover.