[Be sure you are familiar with the format and ground rules for this exam.]

Questions will be referred to by their "names," listed to their left.

"Name"	Question
L-PHIL	What, according to Lee, is philosophy? Explain the terms in which Lee's definition is offered. Give examples of questions about art that are philosophical questions according to that definition. Explain. Give examples of questions about art that are not philosophical questions according to that definition. Explain.
T-R&J	Tolstoy considers this argument: "“[T]he author plainly says that we must not demand morality in art. And in proof of this he advances the fact that, if we admit such a demand, Shakespeare's Romeo and Juliet and Goethe's Wilhelm Meister would not come within the definition of good art; but since both these books are included in our canon of art, he concludes that the demand is unjust.” (NR p.508) Explain, analyze, and critique this argument.
T-DEF1	Tolstoy objects to how philosophers have tried to define art. He objects both to the method and to the results. Explain his objection to the method. Explain his objection to defining art in terms of beauty. Critically discuss.
T-RELA	Tolstoy thinks that "every work of art causes the receiver to enter into a certain kind of relationship ..." What kind of relationship does he have in mind? And with whom or what? What does Tolstoy think art is? Critically discuss.
T-INFE	Tolstoy wrote "There is one indubitable sign distinguishing real art from its counterfeit ..." What is this sign? What three conditions does Tolstoy think this sign depends upon? Which does he think is most important. Explain all this. Is he right? Critically discuss.
T-DEF2	According to Tolstoy what is the activity of art? Explain carefully what he says about this. Critique his view.
T-GOOD	How does Tolstoy propose to distinguish good art from bad art apart from its subject matter? Carefully explain his view on this. Critically discuss.
T-XN	Tolstoy distinguishes "two kinds" of "Christian art." Explain what these are and whether (and why) he thinks they are good (or bad). Critically discuss.
D-D2	Davies offers a "definition of a definition of art." What is this? What theories that we have discussed offer a definition in accord with Davies' definition of a definition. Explain. Which do not? Explain. Critically discuss.
W-CRIT	Weitz offers several criticism of various attempts to offer necessary and sufficient conditions for art. Explain two of these criticisms. Show how some proposed definitions of art (either in this course or in Weitz's article) are, so to speak, "guilty" or "not guilty" of these faults. That is, consider some definitions of art and either criticize them based on some of Weitz's objections, or defend them against Weitz's objections (or both -- using different theories or different objections).
W-OPEN	Explain what Weitz means by the "open texture" of a concept. What reasons does he give for thinking the concept of art has open texture? Is he right? Why or why not?
W-COR	Weitz considers various "criteria of recognition" of art. Explain what several of these are. Weitz argues that none of these are necessary for something to be art. Consider at least one of these criteria and critically discuss Weitz's argument and position that that criterion of recognition of art is not necessary for something to be art.
D-KEN	Kennick offers an argument that mentions a warehouse. Explain this argument. What is Kennick's conclusion? Is this a good argument? Critically discuss.
D-RSP	Explain radical stipulatism and particularism, as those terms are used by Davies. Explain Davies' objections to these views. Critically discuss.
D-RSP	Carefully explain aesthetic functionalism as that term is used by Davies. Explain Davies' objections to these view. Critically discuss.
DI-IA	What does Dickie mean by an "institutional approach" to defining art? In what way are his definitions "institutional" and others not? Is this "institutional approach" the right way to go about finding (or constructing) a definition of art? Why or why not?
DI-DOU	Dickie argues that what he calls the "new conception" of art is a "double" theory? What is this "new conception?" What does he mean by calling it a "double" theory? Explain the argument he gives for his claim that the new conception is a double theory? Critically discuss.
DI-D1	What is Dickie's first or earlier definition of art? Give examples of art and show how they fit (or do not fit) his definition. Give examples of non-art to show how they do not fit (or do fit) his definition. How did Beardsley criticize that definition? Critically discuss.
DI-D2	What is Dickie's new or current definition of art? Give examples of art and show how they fit (or do not fit) his definition. Give examples of non-art to show how they do not fit (or do fit) his definition. How is this definition an improvement over his first or earlier definition? Critically discuss Dickie's new definition of art.
DI-PL	What is the "playbill" objection to Dickie's new or current definition of art? Explain the theory and the objection. How does Dickie reply this objection? Is the reply adequate? Critically discuss.
L-INS	Explain how Levinson's theory differs from the institutional theory. (This requires explaining both, of course.) What objections does Levinson make to the institutional theory? Is his theory an improvement upon it? Critically discuss.
L-CON	Levinson considers various kinds of connections between "current artworks" and "earlier artworks." Explain the connections he considers and what connection he believes there is. Critically discuss.
L-DEF	State and carefully explain Levinson's definition (the first or second or variant on the second or recursive) of an "artwork." Be sure to explain the terms in which he states it. Explore a few examples to show how this definition determines what is and what is not an artwork.
G-LAP	Angela LaPorte: Mother, Mary (click to enlarge): Here's what LaPorte says about her work, which was on display in the Fine Arts Center Gallery: Title: Mother, Mary Artwork by: Angela Maria La Porte Mixed media sculpture Size: 3' x 4' x 16" My mother spent many days each summer canning fresh garden fruits and vegetables on an old wood burning stove in our basement. Her final year of doing this, she preserved a record 90 quarts and 62 half gallons of tomato sauce. Nine months later, she was diagnosed with an anaplastic astrocytoma (brain tumor), a terminal cancer. My meditative healing altar juxtaposes artifacts of her devotion to preserving home-grown, natural food against her consumption of an artificial carcinogenic substance, aspartame. A backlit MRI scan illuminates two large brain tumors behind a display shelf covered with a hospital linen that once carried my mother’s body from gurney to ambulance to the radiation treatment table. At the center of the shelf is the radiation mask that radiologists used to immobilize my mother’s head during several weeks of treatments. Under the mask is a hazy half-gallon jar with shredded cans that once contained the aspartame-tainted cola that she frequently consumed in the four years prior to her illness. The human body breaks down aspartame into the toxin, methanol, which is then converted into formaldehyde, a carcinogen and preservative. The jar is labeled with the chemical compounds in red fingernail polish, the way my mother marked her keys and tools. This juxtaposition of objects focuses on her consumption of artificial versus the natural contents once preserved in these jars. Extending in both directions on the altar shelf are additional jars of artifacts, two containing journal notes taken throughout her illness, a quart size jar with hair that she lost during radiation treatments, another with a prayer card and flower petals from her funeral, and the smallest jar with a burnt candle and rosary beads, symbolic of the prayers offered to cure her. Garlic and cola can tops scattered randomly on the shelf are important contrasting elements that were a part of my mother’s everyday life. In the midst of this ongoing question of cause is the ultimate healing and hope represented with a single unlit candle for my daughter, Maria Angela Vincenza. Consider three of the following authors/theories: Tolstoy, Weitz, Cluster theory, Radical Stipulatism, Particularism, Aesthetic Functionalism, Eldridge, Dickie, Levinson. For each of your chosen authors/theories explain whether on that view "Mother, Mary" is a work of art, and explain why (or why not). (Also, if on any of those views there is some other information that would be needed to determine whether this is a work of art, be sure to explain what that is.) What is your own view on this question? Defend it.
G-PISS	Andres Serrano: "Piss Christ" 1987 (described as "a photograph of a crucifix submerged in urine") on display at The National Gallery of Victoria, Australia. Consider three of the following authors/theories: Tolstoy, Weitz, Cluster theory, Radical Stipulatism, Particularism, Aesthetic Functionalism, Eldridge, Dickie, Levinson. For each of your chosen authors/theories explain whether on that view "Piss Christ" is a work of art, and explain why (or why not). (Also, if on any of those views there is some other information that would be needed to determine whether this is a work of art, be sure to explain what that is.) What is your own view on this question? Defend it.
G-TAK	Murakami Takashi: My Lonesome Cowboy (click to enlarge; the original sculpture is about nine feet tall): Consider three of the following authors/theories: Tolstoy, Weitz, Cluster theory, Radical Stipulatism, Particularism, Aesthetic Functionalism, Eldridge, Dickie, Levinson. For each of your chosen authors/theories explain whether on that view "My Lonesome Cowboy" is a work of art, and explain why (or why not). (Also, if on any of those views there is some other information that would be needed to determine whether this is a work of art, be sure to explain what that is.) What is your own view on this question? Defend it.
G-MUN	Edvard Munch: The Scream (click to enlarge), which had been on display at a museum in Oslo, until it was stolen: Munch wrote this: I was walking along a path with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature. (ref) Consider three of the following authors/theories: Tolstoy, Weitz, Cluster theory, Radical Stipulatism, Particularism, Aesthetic Functionalism, Eldridge, Dickie, Levinson. For each of your chosen authors/theories explain whether on that view "The Scream" is a work of art, and explain why (or why not). (Also, if on any of those views there is some other information that would be needed to determine whether this is a work of art, be sure to explain what that is.) What is your own view on this question? Defend it.