[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
B-EMO	Acording to Bell art has something to do with emotion. What, according to Bell does art have to do with emotion? Explain. What does Bell argue that art does not essentially do in regard to emotion? Explain. Is Bell right about this? Why or why not?
B-COM	Clive Bell asks "What quality is common to Sta. Sophia and the windows at Chartes, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cézanne?" What is his answer? Explain. Do all artworks have this quality? Defend your answer.
B-NAT	There are some works of "natural beauty" -- maybe a sunset, maybe the Grand Canyon, maybe the wings of a butterfly -- that seem every bit as beautiful as great artworks. But Bell claims these are not works of art. Why? Is Bell correct in this? Critically discuss.
B-NOT	There are certain paintings which Clive Bell claims are not works of art. Give examples. Explain Bell's reasons for claiming these are not works of art. Is he right about these paintings? Why or why not?
B-REP	Plato thought art (at least the arts that he discussed) essentially involved imitation, or what we might think of as representation. Explain Clive Bell's position on the importance of representation to art. Critically discuss.
SB-DIS	Sibley distinguishes aesthetic and nonaesthetic properties. Give examples of each and explain how he draws this distinction. Are there properties that are hard to classify into these two groups? Explain. Critically discuss.
SB-REL	What relationship does Sibley see between aesthetic properties and nonaesthetic properties? Explain. Is he right about this relationship? Critically discuss.
SB-UGL	Sibley in a footnote considers as an example a description such as "One eye red and rheumy, the other missing, a wart-covered nose, a twisted mouth, a greenish pallor." Why does this description present a problem for his view? Explain. How does Sibley propose to solve the problem? Is his solution adequate? Critically discuss.
SB-7CM	Sibley proposes seven methods that an art critic might use to support an aesthetic judgment. Explain these methods. Explain how each method fits (or fails to fit) with Sibley's understanding of the relationship between aesthetic and nonaesthetic properties. Critically discuss.
B-FOG	In order to illustrate his notion of "Psychical Distance" Bullough talks of a fog at sea. Explain this example. Explain the notion of psychical distance which Bullough appeals to. Does his analysis seem correct? Critically discuss.
B-OTH	In order to illustrate his notion of "Psychical Distance" Bullough talks people watching a performance of Shakespeare's Othello. Explain this example. Explain the notion of psychical distance which Bullough appeals to. Does his analysis seem correct? Critically discuss.
B-AGR	Bullough claims that "“Distance ... provides the much needed criterion of the beautiful as distinct from the merely agreeable.”" How does Bullough distinguish the "agreeable" from the beautiful? How does the notion of "distance" fit into this? Critically discuss.
B-CRE	Bullough offers a description of artistic creation, using an example from a dramatist. What is this description? How does Bullough's account of "distance" fit in here? Does this ring true? Critically discuss.
DA-IT	Danto talks about a theory he calls "IT." Explain this theory. He then talks about a theory he calls "RT." Explain this theory. What is the difference between these theories? Critically discuss.
DA-IS	Danto talks of the "'is' of artistic identification." What does he mean by that? Give examples of its use. What, if anything, in Danto's view, does this "'is' of artistic identification" have to do with whether something is a work of art. Critically discuss.
DA-NEW	Explain Danto's "Newton's First Law" and "Newton's Third Law" example. What does this show, according to Danto? Critically discuss.
DA-BR	Danto writes "the Brillo people cannot manufacture art and ... Warhol cannot but make artworks." What does Warhol have to do with Brillo? Explain what Danto means by this remark. Is it true? Why or why not? Critically discuss.
DA-MX	Danto suggests a matrix of style can be made by considering artistically relevant predicates. Explain these predicates and the matrix he constructs. Explain the following remarks of Danto in light of this: "Strictly speaking, a black square by Reinhart is artistically as rich as Titan's Sacred and Profane Love. "Fashion ... favors certain rows of the style matrix." "An artistic breakthrough consists ... in adding the possibility of a column to the matrix." (all from NR p.212)
W-VIE	Walton's "Categories of Art" begins by describing a view that Walton will be attempting to refute. Explain this view. What does that view leave out that Walton thinks is essential to criticism? Explain. Is the view right? Why or why not?
W-SVC	Kendall Walton distinguishes "standard," "variable," and "contra-standard" properties with respect to perceptually distinguishable categories. Explain. Give examples. Is this a useful way to divide up properties of artworks? Why or why not? Critically discuss.
W-RES	Walton seems to think that there is a "paradox" in the fact that a picture might resemble a person even though the picture is flat, for instance. How does he propose to resolve this paradox? Is this a good resolution? Why or why not? Critically discuss.
W-GUE	Walton imagines a category of artworks he calls "guernicas." Explain what these are. What points does Walton make by appeal to his example of "guernicas?" Explain. Walton's example was fictional. Can some of these points be made by appeal to more "real-life" examples? If so, give such examples and explain the points. If not, explain why not.
W-ABS	Walton defines a notion of properties which are standard, variable, and contra-standard absolutely. Explain how he defines these terms. Why does he introduce the notion "absolute" categories instead of simply talking of "category-relative" interpretations? Critically discuss.
W-COR	Walton talks of several circumstances which count toward correctly perceiving a work in a certain category. Explain these circumstances. Give examples.
C-CRAF	Collingwood distinguishes what he calls "art proper" from "craft." Explain what he means by "craft." Give examples. What reasons does he give for saying that there is a difference between art proper and craft. Critically discuss.
C-TECH	What does Collingwood mean by the "technical theory of art?" On that theory, what is art? Give examples.
C-SRT	Explain the theory of art Collingwood calls the "Stimulus-Response Theory" or the "Psychological Stimulus Theory." Collingwood distinguishes several varieties of this theory. Explain what these are and what the differences between them are.
C-EMO	Acording to Collingwood "art has something to do with emotion." What, according to Collingwood does art have to do with emotion? Explain. What does Collingwood argue that art does not essentially do in regard to emotion? Explain. Is Collingwood right about this? Why or why not?
C-TRAG	Collingwood writes "No artist ..., so far as he is an artist proper, can set out to write a comedy, a tragedy, an elegy, or the like.”" Why does Collingwood think this? Explain and critically discuss.
C-IMA	Collingwood says that a work of art is, or at least can be, an "imaginary" thing. What does he mean by this? Why does he think this? Is he right? Critically discuss.
D-SING	Stephen Davies divides up artworks into "singular" and "multiple" works of art. Explain this distinction and give examples of each. Are there any artworks that are hard to classify in this way? Explain. Could all artworks be understood as "singular?" How? Could all artworks be understood as "multiple?" Explain. Critically discuss.
D-3MUL	Davies considers three kinds of multiplicity in artworks. Carefully explain these three ways that artworks, according to Davies, can be multiple. Give examples of each. Are there multiple artwork that are hard to classify in this way? Explain. Critically discuss.
D-PERF	Some works, apparently, are for performance and some are not. Explain how this distinction lines up (or does not) with other distinctions Davies draws, e.g., between singular and multiple artworks and among kinds of multiple artworks. Give examples. Are there works that are hard to classify in this way? Explain. Critically discuss.
D-UNI	Some people think works are art are, or are like, "universals." Explain this view. What are the problems with this view? How might they be solved? Critically discuss.