21 May WHAT DOES PLATO€™S SOCRATES MEAN WHEN HE CLAIMS THAT ART IS THREE TIMES REMOVED FROM THE TRUTH?
Introduction to Philosophy of the Arts
Higgins
Fall 2015
Possible Exam I Questions
1. How does Plato’s Socrates explain the fact that the rhapsode Ion is not able to
perform in a powerful manner except when he is performing Homer? Does artistic
talent give us grounds for admiring the artist on his view? Explain. Why does the
fact that the artist is in touch with a higher realm not lead Socrates to claim that the
artist can help us gain a vision of the Forms?
2. What does Plato’s Socrates mean when he claims that art is three times removed
from the truth? Do you think Plato’s Socrates is right to think that art can give
dangerously false views of reality? Why or why not? Can you think of contemporary
artworks (whether in the fine or popular arts) that are vulnerable to Socrates’
criticisms? If so, cite an example and explain why his criticisms apply. If not, explain
why you think his criticisms do not apply to contemporary artworks.
3. What is the principle of closure? Does observing the principle of closure ensure
that the art/reality boundary will be kept clearly in mind? Why might someone think
that such cases as each of the following challenge the art-reality boundary: 1) an
artwork that promotes a political view; 2) a work that is highly erotic or verges on
pornography (but is still presented in an artistically skillful manner); and 3) a film
whose funding depended on extensive use of product placement? Do you think that
such artworks can possibly achieve closure? Why or why not, in each case?
4. It may seem surprising that we seek out plays, films, and other artworks that
depict tragic occurrences. How does Aristotle explain our interest in such works?
Indicate three of his recommendations for the construction of a tragic play that serve
to enhance our response and explain how each of these does so.
5. Mark Crispin Miller mentions a number of features of contemporary Hollywood
movies that he considers to be flaws. Cite three of these and explain why Miller
considers them to be damaging to the artistic merits of film. Then explain how
Aristotle would assess these same features, drawing on his account of tragedy.
6. How does Hume reconcile the idea that aesthetic judgment is subjective with the
notion of an “objective†standard of taste? What is his standard of taste (or, what are
his standards, if he has more than one)? In practice, what standard should we look to,
according to Hume, in order to determine whether or not an artwork is good?
(see other side for additional questions)
7. Does Hume think that everyone is likely to have the same response to a particular
artwork? Why or why not? (NOTE: It would be worthwhile to explain the nature of
the response that Hume thinks an artwork provokes when it is effective. Indicate the
feature that Hume builds in to preclude certain grounds for variation in individual
reactions.) Indicate three things that he thinks might influence a person’s ability to
appreciate an artwork and explain why he considers these to be factors.
8. How does Kant attempt to demonstrate the universality of aesthetic experience of
the beautiful? (Be sure to give some explanation of his account of aesthetic
experience involving
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