Abstract
In the preceding chapter I discussed a distinction between terms the correct application of which it seemed appropriate to ascribe to some special aesthetic sensitivity and terms the application of which seemed to require only the normal five bodily senses and a normally endowed mental capacity. I called the former “taste-terms,” and the latter “non-taste-terms,” and I shall continue to do so, though it must be borne in mind that in so doing I will be using a coined word. I shall mean by a taste-term a term the correct application of which requires a special ability to, as Sibley puts it, notice or see or tell that things have certain qualities. And, as I have tried to show, “taste” does not ordinarily mean that at all. But no harm will be done so long as my use of “taste” is not confused with the ordinary use; so long as no conclusions are drawn which are said to follow from the concept (or concepts) of taste embodied in ordinary language.
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Notes
E. H. Gombrich, The Story of Art (London: the Phaidon Press, 1952), p. 383.
Willi Apel, The Harvard Dictionary of Music (Cambridge, Mass.: Harvard University Press, 1951), p. 711.
“Aesthetic Concepts,” p. 78.
Ibid., pp. 66–67.
Ibid., pp. 70–71.
Ibid., p. 66.
Ibid., pp. 70–71.
Ibid., pp. 67–68.
Ibid., p. 68.
Ibid., p. 69.
Ibid.
Ibid., p. 70.
Ibid., p. 68.
Ibid., p. 75.
Ibid., pp. 71–72.
Ibid., p. 72.
Ibid.
J. O. Urmson, The Emotive Theory of Ethics (New York: Oxford University Press, 1969), pp. 64–67. Urmson is concerned with questions of evaluation, of course, and I am not.
“Aesthetic Concepts,” pp. 72–73.
Ibid., p. 68. This is reiterated in a subsequent reply to critics, “Aesthetic Concepts: A Rejonder,” The Philosophical Review, LXXII (1963), pp. 79–80.
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© 1973 Martinus Nijhoff, The Hague, Netherlands
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Kivy, P. (1973). Are Aesthetic Terms Ungovernable?. In: Speaking of Art. Springer, Dordrecht. https://doi.org/10.1007/978-94-010-2412-9_3
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