Editing Analytic philosophy (section)

===Aesthetics===
{{Main|Aesthetics}}

As a result of logical positivism, as well as what seemed like rejections of the traditional aesthetic notions of beauty and sublimity from [[post-modern]] thinkers, analytic philosophers were slow to consider art and aesthetic judgment. [[Susanne Langer]]<ref>[[Susanne Langer]], ''Feeling and Form: A Theory of Art'' (1953)</ref> and [[Nelson Goodman]]<ref>[[Nelson Goodman]], ''Languages of Art: An Approach to a Theory of Symbols''. Indianapolis: Bobbs-Merrill, 1968. 2nd ed. Indianapolis: Hackett, 1976. Based on his 1960–61 John Locke lectures.</ref> addressed these problems in an analytic style during the 1950s and 1960s. Since Goodman, aesthetics as a discipline for analytic philosophers has flourished.<ref>Kivy, Peter, "Introduction: Aesthetics Today" in ''The Blackwell Guide to Aesthetics'' (Blackwell Publishing, 2004), p. 4.</ref>

[[Arthur Danto]] argued for a "institutional definition of art" in the 1964 essay "The Artworld" in which Danto coined the term "artworld" (as opposed to the existing "[[art world]]", though they mean the same), by which he meant cultural context or "an atmosphere of [[art theory]]".<ref>Adajian, Thomas. [http://plato.stanford.edu/entries/art-definition/ "The Definition of Art"], ''The Stanford Encyclopedia of Philosophy'', London, Oct 23, 2007. <!--accessed December 21, 2009--></ref>

Rigorous efforts to pursue analyses of traditional aesthetic concepts were performed by [[Guy Sircello]] in the 1970s and 1980s, resulting in new analytic theories of love,<ref>[[Guy Sircello]], ''Love and Beauty.'' Princeton, NJ: Princeton University Press, 1989.</ref> sublimity,<ref>[[Guy Sircello]] "How Is a Theory of the Sublime Possible?" ''The Journal of Aesthetics and Art Criticism'', Vol. 51, No. 4 (Autumn, 1993), pp.&nbsp;541–550</ref> and beauty.<ref>[[Guy Sircello]], ''A New Theory of Beauty.'' Princeton Essays on the Arts, 1. Princeton, NJ: Princeton University Press, 1975.</ref> In the opinion of [[Władysław Tatarkiewicz]], there are six conditions for the presentation of art: beauty, form, representation, reproduction of reality, artistic expression, and innovation. However, one may not be able to pin down these qualities in a work of art.<ref>{{cite book |last=Tatarkiewicz |first=Władysław |url=https://books.google.com/books?id=eD4qAQAAMAAJ |title=A History of Six Ideas: an essay in aesthetics |date=1980 |publisher=PWN/Polish Scientific Publishers |isbn=978-8301008246}}</ref>

[[George Dickie (philosopher)|George Dickie]] was an influential philosopher of art. Dickie's student [[Noël Carroll]] is a leading philosopher of art.