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Article
An Interpretation of Danto’s the End-of-Art Thesis from the Perspective of Gadamerian Hermeneutics
Author(s)
LUO Qiao-juan
QIN Ming-li
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DOI:10.17265/2159-5313/2019.01.003
Affiliation(s)
Dalian University of Technology, Liaoning, China
Dalian University of Foreign Languages, Liaoning, China
Dalian University of Technology, Liaoning, China
ABSTRACT
Ontology
of art, philosophy of art history, and aesthetics make up Danto’s integrated
philosophy of art. The end-of-art thesis is the essence of Danto’s philosophy
of art history. As an analytical philosopher, Danto’s philosophy resembles
Hans-Georg Gadamer’s philosophical hermeneutics in the viewpoints concerning
art and history in some ways but differs in others. Danto’s concepts of history
show different tendencies in analytical philosophy of history and philosophy of
art history. On the one hand, his philosophy of history conforms to Gadamer’s
history of effect for the denial of the objectivity and certainty of historical
truth. On the other hand, his philosophy of art history fundamentally differs
from Gadamer’s relativism by asserting “the end of art” therefore generating a
Hegelian law in art history. By using the strategy of “historical narrative” in
his philosophy of art history, which is also in accordance with Gadamerian
tradition, Danto aims to reconcile his self-contradictory historical views and
to justify his philosophical position both as an “essentialist” and a
“historicist”.
KEYWORDS
Danto, Gadamer, hermeneutics, the end of art, historical narrative
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