Abstract

Noel Carroll’s A Philosophy of Mass Art is intended as a contribution to a “systematic” philosophy of mass art, but his more immediate aim is to clarify and criticize the principles and presuppositions that contemporary theorists bring—mistakenly, he argues—to their reflections on mass art. In a sense, Carroll offers to provide for the philosophy of mass art what he claims mass art can provide for morality, namely, clarificationism : “Logical argumentation and conceptual clarification are its major research tools”. The general result of this strategy is a classification of mass art that is ontological, as he explains what is unique about a mass artwork ; structuralist, as he claims there are common emotional, moral, and ideological structures of mass art ; and functionalist, as he argues that it is the function of mass art to be produced intentionally to be accessible to a mass audience. Moreover, Carroll’s ontological theory is essentialist, for he is committed to developing and defending “a series of necessary conditions that are jointly sufficient for calling something a mass artwork”. This commitment culminates in what he calls a “real” definition of a mass artwork, which is as follows